The Variety reviewer was awestruck: "It is not easy to confess one's self unequal to a given task, but to pen an adequate description of the Biograph's production of 'Judith of Bethulia' is, to say the least, a full grown man's job." … cripes: am I “man enough” to blog this one?
Today was DW day at the BFI at the start of their
month-long season celebrating “Cinema’s Great Pioneer” which will include
screenings of all his major works including a tie-in with UCL’s three-day
conference on Birth of a Nation: the
Father of Cinema celebrated, just two Sundays before Father’s Day… Really BFI,
you could have waited!
David Llewelyn Wark Griffith, probably not a descendant of Rhys ap Gruffydd... |
As befits a man little known for brevity, the day started
with Kevin Brownlow and David Gill’s three part documentary covering the life
and career of the man our Charlie called “the teacher of us all”. DW
Griffith: Father of Film, narrated by Lindsay Anderson, included
precious interviews with Lillian Gish and Blanche Sweet, who were to feature
later, along with cinematographers Karl Brown and Stanley Cortez.
The series documents Griffith’s relatively humble
background on a farm – not quite the southern aristocrat he later made himself
out to be: “descended from the Kings of Wales…” me too mate! He was a self-made
man, self-taught with his school-teacher sister’s help and this makes his
achievements all the more remarkable: as
with Chaplin he clearly had exceptional native intelligence and supernatural
energy.
Lillian reaches out in The Battle at
Elderbush Gulch
|
There are in-depth appraisals of his blockbusters and the
almost unbroken run of success up to Orphans
of the Storm (Lillian had me on the verge of tears yet again…) and then his
attempts to replicate that success over the next decade. A decline marked by
the emergence of new wave of silent-sophisticates such as Lubitsch, Vidor and
Von Stroheim.
DW examining the rushes from Abraham Lincoln |
With scarcely time to grab a sandwich, it was on to the actual films with three fascinating samples of early DW…
The Adventures of
Dollie (1908)
A still from Dollie... no where near as clear as the print we saw! |
The calm before the storm... but they did say "no dogs!" |
The owner of the dogs was Mae Marsh who eventually
emerges as the hero by rescuing Lillian Gish’s baby amidst the smoke and
cross-cutting fury of the battle itself. Robert Harron, another Griffith
regular, plays Lillian’s heroic husband wearing the kind of moustache often
seen on Brookside in the late 1980’s.
Judith of Bethulia
(1913)
Blanche Sweet |
Biblical stories gave directors more freedom of “expression”
and there’s certainly a good deal of passion in this tale from exotic dancers
to Judith herself (Blanche Sweet) who spends most of the time breathing in and
stretching her arms up wide as she contemplates the manly charm of Assyrian
Prince Holofernes (a barely-recognisable Henry B. Walthall) and what she must
do to him…
The "Little Colonel" has a wee dram... |
There’s also a wonderfully camp turn from J. Jiquel Lanoe
as the Prince’s Eunuch Attendant and a dance troop led by Gertrude Bambrick who
provides considerable distraction to the viewer if not their jaded leader.
Mae Marsh plays a young woman called Naomi who is in love
with a warrior called Nathan (Robert Harron - still with that same ‘tache!) and
looks years older than in the previous film. There’s an interesting comment
from Lillian Gish in the documentaries about being cast as the “young girl” in Broken Blossoms; she reckoned she was
too old and that they should have given the job to an actual girl “they always
look five year’s older on screen” (except perhaps Mary P!). Mae Marsh was 19 at
the time of filming both.
Naomi and Nathan’s lives are turned upside down when the
Assyrians attack and lay siege to their city of Bethulia. Naomi is carted off
to the enemy camp whilst Nathan takes to arms as the city tries to fight off
the invaders. The city walls remain intact but there is precious little water
and food and the enemy will surely only have to wait.
Lil and Blanche |
The citizens look to Judith for leadership and healing
but she despairs until she works out a way of saving her people… along with her
maid she makes her way to the Assyrian camp and immediately begins to entrance
their prince. What she didn’t reckon though was on attraction being a two-way
street and as she begins to doubt her own mission in the face of burgeoning
love, will she have the heart to carry out her plan?
The film is a very refined Griffith product and shows the
benefit of his weeks of rehearsal time with an established company of
technicians and performers. The battle scenes are again closer to what we will
see in the ensuing years with Birth
and Intolerance… they’re not quite Cabirian but you can feel the flames and
the fury.
Judith smothers herself in dirt before undertaking her dangerous mission... |
Blanche Sweet gives and impressive performance amidst all
her wind-milling arms and heavenly-imploring - in the documentaries there’s a
precious shot of DW showing her how to cosy up to the Prince… she does it far
better! She’s actually impressively naturalistic and nuanced whilst also
looking more than capable of doing the deed she must… I doubt Lillian could
even wield that sword whilst Mary P just couldn’t!
Mae Marsh is also impressive here looking a little like
Zoe Deschanel (is that just me?) in one of her more serious roles whilst Henry
B. Walthall shows how to act through a beard: be the beard – he is the
beard! There is also a fleeting appearance from Dorothy Gish as a crippled
beggar, her mother Mary and some bloke called Lionel Barrymore: the Hollywood “club”
was turning into a juggernaut.
Blanche leads the extras (including Lionel Barrymore?) |
And there was more…
as A Romance of Happy Valley was up
next along with The Cricket on the Hearth
but I needed to re-establish some form of contact with my family and to eat…
The DWG show runs till the end of June and further details are available on the BFI site. There are still tickets available but they're selling fast!
You just can’t beat seeing the man’s work on screen and
projected with live accompaniment. Wendy Hiscocks’s was today’s pianist and she contributed greatly to the tone
and focus – capturing the mood from Dollie’s dangerous barreling to matters of
life, death and love in the longer films. Every silent film musician brings
their own flavour to the films and Wendy mixed post Victorian lyricism, wild-western
dramatics and middle-eastern epic with consummate ease!
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