Her every characterization is attempted with her own persuasive charm and wistful beauty … Always she reveals suffering and sacrifice, not of the flesh but of the spirit … Never has Lillian Gish failed to create a role which did not become a classic.
Lillian and Dorothy Gish
Wherever motion pictures are shown in the world over, the name GISH stands for pre-eminence. In six of the nine or ten truly great pictures thus far made, Lillian Gish created roles which will live forever. What an artiste! Never will the world forget her inspired acting. In two of these immortal classics, “Hearts of the World” and “Orphans of the Storm,” her talented sister, Dorothy Gish, shared the honors. In “Romola,” they are together again, and they are more wonderful than ever before.
There never was such a praise!
“I like ‘Romola’ better than ‘The White Sister’ (Louella O. Parsons in NY American)
“Lillian Gish’s ‘Romola’ is a beautiful portrait.” (Peter Milne in N.Y. Morning Telegraph)
“Fine Work that – work that brought a cheer from the audience.” (Mildred Spain in N.Y. Daily News)
“Amazingly wondrous to behold! … To the end, the charm of the Gishes holds one.” (Allene Talney in N.Y. World)
“Romola is a touching story … a delicate, beautifully-shaded pastoral.” (N.Y. Evening Post)
“Lillian Gish in the title role seems to step out of an artist’s canvas … while Dorothy Gish is excellent as the peasant girl.” (Rose Pelswick in N.Y. Eveining Journal)
“Lillian Gish brings to ‘Romola’ all the wistful charm and the indefinable sense of pathos which make her unique among film stars.” (Helen Bishop in N.Y. Evening Journal)
What the great of Europe say about “Romola”
Georges Clemenceau, former premier of France: “Such a work of art merits every success.”
Dr. Guido Biagi, director of the Laurentian Library Florence: “As editor of the novel ‘Romola’ I desire to express my appreciation that you came to Florence where the scenes of the book actually were laid and here reproduced them for the screen. I congratulate you upon the beauty and sumptuousness with which the production has been staged.”
Leonce Benedite, director of the Luxembourg Museum and the Rodin Museum, Paris: “It is notable for its settings, its costumes and its vibrant semblance of reality.”
Santiago Alba, former minister of Fine Arts in Spain: “It is a page of the most delicate art and appeals like few other films.”
Giovanni Poggi, director of the Uffizi Gallery, Florence: “In the film ‘Romola’, the costumes, the principals and the ensembles seem to have been studied with the greatest possible care. Bravo for the beautiful work of Inspiration Pictures.”
Firmin Gemier, director of the Odeon National Theatre, Paris: “I must tell you how marvelous I think ‘Romola’ is. Your reconstruction of the golden age of Florence gave me one of the greatest surprises of my life. It is a glorious moment from an epoch in which all true artists, all people of culture, all those who have loved and thought passionately, would like to have lived.”
P. Bonnard, one of the greatest living French painters: “It will awaken longings for the glorious past and enthuse all souls that follow ideals.”
“The scenes in ‘Romola’ are so beautiful that they in themselves are worth instant one spends viewing this picture.” Mordaunt Hall in N.Y. Times.
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