Lillian Gish
Let us begin our trip backward in time with one of my favorite unappreciated gems from the silent era: Lillian Gish, once donned "The First Lady of American Cinema," she's now practically forgotten.The purpose of these entries will be to enhance and expose film fans to movies they would not simply come across through basic study. If anyone chooses to review the films listed (in any of the "Unappreciated" series) you will quickly find yourself with a comprehensive knowledge of fantastically obscure films, actors, directors and roles to cherish for a lifetime.
5) "BROKEN BLOSSOMS" (1919): Lillian was already quite a staple of the silent cinema revolution by the time she took the role in Broken Blossoms. Her relationship with D.W. Griffith was sound and she burst upon the screen at the ripe old age of 21 to portray this downtrodden, misunderstood character. I always really loved this film strictly because of how politically incorrect it would be considered by today's standards. Where do we even begin? The source material for this film came from a short story by Thomas Burke entitled "The Chink and the Child." Yes, they could really use that word and no one set the studio on fire. The character portrayed by Lillian Gish is also somewhat ahead of her time in that she plays the daughter to an abusive, alcoholic prizefighter who is seriously....an ass. That all changes when pixie-faced Gish meets and falls in love with...wait for it...wait for it...A CHINESE IMMIGRANT! Not only do they fall deeply in love, they make a baby...a little half chinese baby...IN 1919 FOLKS?! Of course it has a tragic ending, because in the era of silent films you could either a) laugh hysterically and leave feeling great or b) watch the entire cast drop dead and lose your hope in mankind. This opted for selection B. I won't spoil this great film. It has some of the silent cinema's most memorable shots and for that reason alone, you should make a point to give it 90 minutes of your time and experience Gish as she blossomed under the nurturing hand of the master, Griffith.
4) "THE WHALES OF AUGUST" (1989): The final film for Ms. Gish (and almost the final film for screen legend Bette Davis, who costars in this maudlin spectacle) also, this was the final film directed by Lindsay Anderson (way to wipe out cinema folks). This film pretty much sums up everything I love about Lillian Gish (who was in her 90's!! when this was filmed). It captures her sweet nature, her kind heart, her sympathetic spirit that infected nearly every role she ever played - and to spice it up, she's basically trapped in an idyllic beachfront home with foul-mouthed, delusional Bette Davis. This is not the most potent role for Ms. Gish - however, there is something inherently magical about this movie. It's riddled with poignancy over two old women who gave their lives to entertain us all. I could just sit and stare at Gish and Davis side-by-side for hours. They don't need to speak. Their presence is sufficient. Oh, and guess who their one friend is? Give up? Yeah...it's Vincent Price. This isn't the easiest film to get your paws on, but if you work hard enough - anything is possible. 
3) "WAY DOWN EAST" (1920): This was Lillian's follow-up to "Broken Blossoms" and she is still hammering out the classics with D.W. Griffith when she took the role of Anna. Once again, she pushes the boundaries of acceptability with this feature. She plays a woman with a colorful history, who finds herself "knocked up" and tries to escape her shame by moving far off into the wilds of America. This film is primarily known for its final segment where Lillian is trapped on a river of broken ice, then she collapses unconscious and rides that damn ice floe right over a waterfall. Yes, Griffith copied this from Uncle Tom's Cabin (1918), but who cares? He rocks this scene like nobody's business. If you've never seen film magic being created - this is worth seeing. You'll spot numerous clips that you'll find familiar mostly because this film was so .... copied. I just love it because it's long, it's tragic, it's so melodramatic you'll find yourself acting out as if you were there - and it's got a slam-dunk ending that rivals anything you'll see from the silent era. I wouldn't miss this one. Seriously...
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2) "THE WIND" (1928): And now we're talking! What's not to love about this? Where do I even begin? How about - it was Gish's final silent film. It was Victor Seastrom's attempt to cross-over into American cinema with this poetic, expressionistic story of two hopeless souls, trapped in a desolate environment (selected to direct by Gish herself - cause yeah, the girl had clout out the ying-yang). This was one of the first times a young R.W. Webb got to encounter the lovely Gish lips. In the late 1980's, Turner Classic Movies aired this as part of their Silent Sunday Night festival. It left a lasting impression, opened the door to obsessively studying (not only) Lillian Gish, Lars Hanson but also Victor Seastrom (Sjorstrom), which in turned lead to numerous years of studying European silents. This movie, in simple terms - rocks. You will come away from this feature with more than an appreciation of Lillian Gish's lips, you'll instantly become a fan of silent film, incredible (and remarkably dangerous) special effects and the power that can come from a good leading lady melding with a great innovative director to create something historic, timeless and beautiful. I could write more about this film, but it would all sound the same. Applause...
1) "NIGHT OF THE HUNTER" (1955): Jesus, Lord...what movie is better than this? How do I even comment on this film without the ability to shriek through text? It's just so good it doesn't even make sense. There is absolutely NOTHING wrong with this phenomenal movie. Let's break it down bit by bit: Director - Charles Laughton in his ONLY directorial feature, he combines German Expressionism, big named Hollywood legends and a script tighter than a tick's ass - to keep you on the edge of your seat. I dare you to watch this and think ... oh this is dated. This movie is the opposite of dated. It's so damn ahead of it's time - it STILL comes off as fresh...now, to comment on the cast. There are numerous memorable performances, both by leads and by extras. I can't even coherently describe how sublime and delicious Shelley Winters is as the downtrodden mother of Pearl and John. Now...about Pearl...Every line, every look, every stumble...is flawless. That little girl completes me. Robert Mitchum as the filthy, disgusting, repugnant preacher who's chasing these poor kids all over mankind...assumes his greatest role in his career. He never shines brighter. In the scene when the little boy spots his shadowy figure coming over the hill and sighs, then says, "Don't you ever sleep?" Can still make audiences cackle with laughter...but that's all before we even GET to the good stuff, because guess where the children wind up? That's right - at the house of Mother Hubbard...or rather, Rachel Cooper (Lillian Gish) and her shotgun of justice. This is the all time best role by Lillian Gish. Hands down. No contest.
She plays a woman who apparently takes in orphans to raise. Her strength, bravado, spine of steel, cupid's bow lips, frilly dresses and that damn shotgun...y'all...it just doesn't get any better than this one. Not only is NOTH one of my favorite films, with one of my favorite stars, by one of my favorite screenwriters, directed by one of the greatest men to ever live...it ALSO includes one of my top five favorite quotes from movie history, a quote that quintessentially defines everything there is to say about Lillian Gish, both on screen and off: "I am a strong tree with branches for many birds. I'm good for something in this old world, and I know it too."
Like all screen legends, they abide and they endure - and Ms. Lillian Gish will forever have a place in my DVD collection to do just that. Now...why are you still reading? Go get your Gish on! The little lambs are waiting...
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