As a producer reporting to, but given a free hand by, (Irving) Thalberg at MGM, Lillian Gish took on the challenge of filming Nathaniel Hawthorne’s The Scarlet Letter, a project that had been opposed by every women’s club in the country because its plot concerns adultery with a capital A, not to mention with a clergyman. (When MGM told her “it wasn’t allowed,” she said, “What do you mean it’s not allowed? It’s an American classic, and I’m an American and I want to make it!”) When Gish visited the women’s clubs and told them she would be in charge of the project, their respect for her good taste and judgment led them to drop all opposition. To direct The Scarlet Letter (1926), she brought Victor Sjostrom (who signed his American pictures Seastrom) to Hollywood from Sweden.
Photo Gallery – “La Boheme”
The picture was a great success—as were Gish’s other productions, including the 1926 La Boheme, a silent version of Puccini’s opera. But her greatest production, and the second film Sjostrom directed for her, was The Wind (1928), based closely on the 1925 novel by Dorothy Scarborough and shot in the Mojave Desert. In this film Gish gives one of her very finest performances—her best since Way Down East and until The Night of the Hunter (1955)—as a woman driven mad by the relentless, demonic, almost sexually charged wind that drives the sand across the Texas plains and through every crack in the shack she shares with her husband. Originally ending with the same powerful scene as the novel, in which the heroine—after killing and burying the man who assaulted her—walks into the oblivion of madness and blowing sand, The Wind was given a happy ending (in which she and her husband stand together at the open door, powerfully facing the wind) at the insistence of exhibitors.
Photo Gallery – “The Wind”
One of the greatest films of the 1950s was a study of values, a literary adaptation, and a compelling story realized in purely cinematic terms: The Night of the Hunter (1955). Scripted by James Agee from the novel by Davis Grubb, it was the only movie ever directed by actor Charles Laughton. This hauntingly photographed, lyrically evocative film tells of two children, on the run from a killer (Robert Mitchum), who find sanctuary in the home of a tough, practical, loving woman (Lillian Gish in her best sound-film performance). In place of money and horror, the film finds value in the enduring power of love, and it does so without the least trace of sentimentality.
Photo Gallery – “The Night of the Hunter”
Note: Illustrations used are not part of Mr. Mast’s book.
When Mamaroneck Upstaged Hollywood – By Bruce Berman (The New York Times – June 19, 1977) When Mamaroneck Upstaged Hollywood By Bruce Berman The New York Times – June 19, 1977 BACK in the early 1920’s when Mamaroneck was a center of movie‐making, Joseph Rigano was an employee of D.W. Grif fith’s studio at Orienta. “I was atone mason and mechanic,” the energetic 80year‐old said as we toured on foot Edgewater Point, at the top of the Orienta Peninsula. Griffith Studios, Orienta Point, Mamaroneck NY 1921 “After the studio was finally built, Mr. Griffith asked me to stay on as a set builder. Stone fireplaces were my specialty, but I worked on everything from Gothic walls to painted desert backdrops. The actors were almost always friendly, and I was getting $55 a week and drove a $1,200 Buick. What more could a young man desire?” DW Griffith filming team – Mamaroneck NY – Way Down East In those days the area was less the “East Coast Hollywood” than Hollywood was “the West Co
The Movie Magazines and Lillian Gish … The moving Picture World 1914 detail The moving Picture World 1914 The moving Picture World 1914 detail Moving Picture World, November 21, 1914 Her Awakening – Lillian Gish The Angel of Contention Poster The moving Picture World – Mutual Program – A Question of Courage names wrong Lillian Gish And Dorothy The moving Picture World – Mutual Program – The Sisters The Birth of a Nation (David W. Griffith Corp., 1915). Herald2 Sold for Marriage Triangle Plays Program 1916 lillian_gish_photoplay_1917 08 ID Photo Back to Lillian Gish Home page Photoplay, August, 1918 – Dorothy and Lillian Gish in their dressing room Lillian Gish Photoplay August 1918 Lillian Gish Photoplay February 1919 Lillian Gish Photoplay, July, 1919 Back to Lillian Gish Home page Lillian Gish Photoplay October 1920 Orphans of The Storm Prog Herald 1921 Lillian Gish 1921 – The Girl Back Home Motion Picture Classic Magazine (Brewster, 1921) The Lily Maid from Ohio Ph
Lillian Gish Still Favors Long Tresses – By Antoinette Donnelly (Chicago Tribune – 1938) Chicago Tribune – Saturday, April 9, 1938 Page 9 Lillian Gish Still Favors Long Tresses By Antoinette Donnelly We talked backstage recently with Lillian Gish, player of the leading role in one of Broadway’s hits of the season, “Star Wagon”. We found her with her waist-length hair hanging, a sight that gladdens the eye unaccustomed to hair rarely even more than shoulder length. Miss Gish’s hair is a beautiful color, too. A silvery ash blonde that she claims has darkened as this type of hair usually does, but it still is, to us, a beautiful silvery ash tone. We asked Miss Gish how she managed to survive the temptation to cut the long locks, after she admitted never having succumbed once to the urge for short hair. She explained that her hair had been earning her living for her since she was a youngster and that now she has a superstition about cutting it. Incidentally, we had been at a smart hair sho