In the beginning there were no stars in the silent sky.
It was “the pictures” we went to see, pictures that moved. Nobody had ever seen a picture move before, but we could see people on the street every day. Sometimes, as with “Hale’s Tours,” which were travel pictures, photographed from a moving train, and better cinema, being better adapted to the medium, than many more pretentious productions afterwards, there were no people at all. When the films were foreign, as they often were in the days when Pathe dominated the world film trade, the people were there all right, but they were too remote from us in America to register as individuals, and in the comparatively long shots that then prevailed, they all looked pretty much alike anyway. I have myself recorded elsewhere how startled I was when watching Maurice Costello, one day as a small boy, I suddenly became aware that I had seen that face before, and I first encountered the (abbreviated) name of a film player in a hand-lettered sign before a nickelodeon which, having first given the name of the film, added, as an afterthought, in smaller type, “Miss Lawrence in the Leading Role.”
It seems to be the rule, in this craft, that picturesque charlatans shall have immediate recognition, while the few sincere and earnest artists struggle long with public neglect.
The case of Lillian Gish is perfectly in point. Thanks to the popular success of such films as Way Down East and The White Sister, she is just now beginning to enter into her own. Yet she was a great actress in Enoch Arden ten years ago. Mae Marsh, Henry Walthall, Emily Fitzroy—it would be easy to multiply examples. Even Mr. Griffith has, in general, been most successful with his least significant pictures. The Birth of a Nation is only an apparent exception, for it owed its tremendous vogue to its bad melodrama, its appeal to prejudice and passion, rather than to some of the really superb things it contained. And it is undeniable that the first adequate appreciation of Charlie Chaplin came from the outside. To the producers he was, at the outset, simply a great clown, a happy accident, whose enormous popularity was to be joyfully—not thankfully—accepted, but need not, for any reason, be analyzed. So far as I recall, it was Mrs. Fiske who, in an article in The Independent, first dared suggest that Chaplin was an artist.
I first met Lillian Gish at the Blackstone Hotel in December 1920, when she came to Chicago for the local opening of Way Down East at the Woods Theater. I did not meet Dorothy until January 1922, when both she and Lillian came for the opening of Orphans of the Storm and occupied the box just behind mine at the Great Northern Theater. After I moved to New England we met more frequently, and my friendship with both sisters, which was extended to embrace my family as soon as I had acquired one has been a blessing for which I shall always be thankful. It chanced that when I came to New York in 1961 to work on The Movies in the Age of Innocence at the Museum of Modern Art Film Library, Dorothy was out of town, and she graciously placed her rooms in the Elysse Hotel at the disposal of my wife and myself.
The essay that follows first appeared in 1927 as Number Seven in the series of University of Washington Chapbooks edited by my late, lamented friend Glenn Hughes, who thereby became my first publisher. It was revised very slightly for its reappearance in The Movies in the Age of Innocence, and this version was reprinted in 1980 in the very handsome booklet which the Museum of Modern Art brought out to commemorate its Gish retrospective, on which occasion Charles Silver generously described it as “the classic critical appreciation of Miss Gish’s early work.” However this may be, it reappears here without further change.
The meeting in Chicago referred to at the end of my discussion occurred, again at the Blackstone and later at the railroad station, when Lillian and her mother stopped off between trains when she was on her way to the Coast to take up her M-G-M contract. It is interesting to reflect that of the roles I mention in my penultimate paragraph as being naturals for her, Ophelia is the only one she ever had a chance to play. This was in the famous 1936 New York stage production, directed by Guthrie McClintic, in which John Gielgud was the Hamlet and Judith Anderson the Queen. As early as 1936 however, Edward Steichen had taken a marvelous portrait of her as Ophelia, which is handsomely reproduced as #116 in his autobiography, A Life in Photography (Doubleday, 1963), where it is strangely mislabeled “Romola.” The news about the film of that title, to which I refer at some length, is better however. Long considered a lost film, it has now been recovered and is currently (1986) available in casette form for the VCR.
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
Portrait of Lillian Gish and Mother 1920 Nell Dorr Errata: Amon Carter Museum description "Lillian Gish and an elderly woman in lace"; The Movies, Mr.Griffith and Me description of this photo session - "with Mother"