The war is over. Griffith has demobilized his soldiers, converted his trenches into corn fields and stacked his guns in an armory. He is back again among simple, peaceful folk whose problems and struggles are in their own hearts. He is doing more superbly than ever, what he has done so surpassingly well in the past. Recall Griffith’s early Biographs: then consider the great advance made in photoplay technique since those days, also the development in the screen impressiveness of such players as Lillian Gish and Bobby Harron; take into account the improvement in the art of the master director, imagine a de-luxe version of one of his little masterpieces, and you will have an idea of the type of picture issued under the title of “A Romance of Happy Valley”.
D. W. Griffith presents “A Romance Of Happy Valley” – Artcraft
DIRECTOR D. W. Griffith.
AUTHOR Mary Castleman.
CAMERAMAN G. W. Bitzer.
AS A WHOLE Beautiful production filled with human touches, genuine comedy and irresistible heart appeal.
STORY Simple narrative of country folk; natural up to final sequences which run into some unexpected drama.
DIRECTION Characteristic of Griffith in perfection of treatment of situations and handling of players.
LIGHTINGS Superb; artistic effects that suggest the paintings of a landscape artist.
CAMERA WORK On a par with the lightings and photography.
PLAYERS Lillian Gish, Robert Harron and George Fawcett give notable performances; remainder of cast up to Griffith standard.
EXTERIORS Couldn’t be better in carrying the atmosphere of a country town.
INTERIORS Always in the tone of the action.
DETAIL Shows genius in picking out the trifles that give significance to life.
CHARACTER OF STORY Refreshing, sympathetic and wholesome.
Gish and Davis: Could the Two Work Together? – By Mike Kaplan (The New York Times – 1993) FILM; Gish and Davis: Could the Two Work Together? By Mike Kaplan The New York Times – April 18, 1993 When “The Whales of August” was filmed in 1986, the story of the relationship between two elderly sisters brought together two of the screen’s most enduring stars, Lillian Gish and Bette Davis. Miss Gish, who died Feb. 27 at the age of 99, will be remembered on Thursday at the Museum of Modern Art with a program called “In Memoriam.” It will include “The Whales of August,” her final film, directed by Lindsay Anderson, as well as her first, D. W. Griffith’s “Unseen Enemy” (1912). Here, Mike Kaplan, who co-produced “The Whales of August,” reflects on the interaction of its two stars. Bette Davis and Lillian Gish – The Whales of August, 1987 In the tributes to Lillian Gish that followed her death, references to her final starring role in “The Whales of August” were always glowing. B
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
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