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This film shows Lillian Gish in one of her greatest roles, but is also powerful as an instance of one of the few readily available films in which she appears alongside her equally talented sister Dorothy. Dorothy was most illustrious as a comedienne, but shows her ability here as a dramatic actress especially in the device she portrays the fright and bewilderment of being alone, blind, in a hostile and irregular world. It is also racy to survey a very early appearance of Joseph Schildkraut, who would go on to find an Oscar for his role in the Life of Emile Zola and mighty later would play Anne Frank’s father in the Diary of Anne Frank. The scope of the film is substantial with lavish sets and costumes. This is grand for Griffith was in financial difficulties when the film was made, so grand so that at times there were doubts as to whether he could accomplish it. Thankfully he did, for the film remains one of his best. The chronicle is lively and passionate with one of Griffith’s best hasten to the rescue climaxes. Granted it has some cliché’s which were accepted to this genre, such as an orphan with an identifying locket, but these cliché’s are no worse than those of Dickens and Oliver Twist. Indeed Griffith portrays the French revolution as well as any adaptation of A Myth of Two Cities. Where he goes astray somewhat is in his attempts to liken the French Revolution to events and persons with which American audiences might have been more familiar. It is ludicrous to call Danton a French Abraham Lincoln and his comparisons with Bolshevism and warnings against the `red menace’ advance across now as mildly funny. But these are really criticisms only of the titles which, as so often with Griffith, are sometimes overblown. This is a very sterling DVD for it shows the film in the most complete and, as far as I am aware, the longest version available. There is however, one brief scene of Danton arguing with a court which seems to explain itself. Whether this was Griffith’s method or a restoration mistake I cannot say. The print shows very puny hurt and reproduces the film’s new tints. The music is astounding especially in scenes of the riotous dancing of the crowds. It is possible to quibble with the exercise of La Marseillaise, as this was written later than 1789, but this is a very minor point. To effect I would highly recommend this film as a fantastic example of an historical account and as one of the most consuming quiet films I have ever seen.
ORPHANS OF THE STORM is a ample movie, and this time I’m not going to deduct a point for print quality and its non-sequiter of a sound track.
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Exact sisters Lillian and Dorothy Gish star as half-sisters Henriette and Louise Girard. Louise (Dorothy) was found on the icy and snowy steps of the church Henriette’s father had, before a change of heart, placed her. Their parents die, the girls grow into porcelain beauties and Louise loses her gape. Henriette vows to assume care of Louise forever, and they fade to Paris in hopes of restoring Louise’s glimpse.
En route a cruel aristocrat is furious with Henriette’s “virginal beauty” and connives to kidnap her. Henriette is indeed kidnapped shortly after her arrival in Paris, and the helpless Louise is forced to fend for herself.
Half of the fun of ORPHANS OF THE STORM is watching the indignities DW Griffith subjects his two starlets to. Henriette is kidnapped by one of the slimier specimens of the over-fed and over-sexed aristocracy. Her desperate search for Louise is frustrated at every turn- when she finally spots Louise and attempts to arrive her the police approach and she is sent to a prison for fallen women. Oh, yeah, did I mention her delivery to “the foot of Death’s gate? “
Louise has it no better. She is kidnapped by the frightful Mother Frochard (Lucille La Verne) . Mother Frochard, with her hair mole and moustache and missing teeth, may be the ugliest woman ever filmed. Mother F is a street beggar, and she plans to exhaust the blind Louise as her main attraction. After she breaks Louise’s spirit, that is. So, down into the rat-infested cellar with Louise and up comes the ladder. They’re exact rats down there. Griffith also throws a few frigid days of beggary and an attempted rape in Louise’s direction.
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It’s all colossal fun and the girls are indomitably strong and resourceful. The print quality is quite helpful in spots, simply dreadful in others. Most of the stock is sepia-toned, but some battle scenes seem to have been tinted red and there’s a scene towards the extinguish of the movie that seems to have been colorized. Because this isn’t a restored print it’s impossible to pronounce.
Having watched a handful of soundless movies recently I’m beginning to wonder why they aren’t rescored. Alpha Video puts a classical recording on the track of their releases and calls it first-rate. It’s not. These weak films are works of art and national treasures, and they deserve better than this. Sound IS an valuable component to movies. Either restore the modern music or have a contemporary composer write a tag fresh earn. (Note: I watched the discount Alpha release of the film, and I didn’t realize that Kino has a pricier print that includes the unique music. I’m going out on a ledge here, but I’ll bet the print quality is better, too. I’ll be trading up to the Kino version in the come future.)
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