It was time to get involved and the man who had essayed
so emphatically on the nature of nationhood and the need to fight for
tolerance, was the obvious choice. I was braced for the worst after skimming
some received wisdom but, you know what, this was a film relatively without
artifice: propaganda straight from the heart which was genuinely engaging and
packed full of passionate performances from DW’s first team.
The battlefield sequences were stunning and reminded me
of the glimpses of actual conflict in Malins and McDowell’s Battle of the Somme. The
sequences were shot mostly in 1917 on Salisbury Plain using forces already entering
their fourth year of fighting and as with the soldiers in Gance’s J’Accuse some of these men would have
returned to the front and never come home again.
The battle scenes were mostly filmed in Britain |
Billy Bitzer does his usual top-notch job and there was
also a contribution from Alfred Machin (director of the
ground-breaking Damn the War) for some of the French sequences (Herr
Bitzer being less than welcomed in this particular theatre...).
Machin filmed the French trenches |
Lillian Gish later said that Griffith was ashamed of the
film and his demonisation of the Germans – he hated war itself and not the combatants - but, is there a figure here as caricatured as say Silas Lynch in Birth of a
Nation or Captain Butler in America? This was a story made to order for the state –
it was there to serve a purpose and to mobilise civilian sympathies thousands
of miles across the Atlantic. Maybe Griffith felt it was too much like taking to arms?
By appointment to Lloyd George |
The British government has instigated the project and
there’s even a precious introduction showing Prime Minister Lloyd George shaking
hands with Griffith on the steps of 10 Downing Street – can you imagine Tony
Blair or David Cameron doing the same with Katherine Bigelow?
The Boy and The Girl |
Lillian Gish was also to regret making the film (more so
than Birth?) and when a member of the isolationist America First Committee during
the Second World War, she wrote the apologetic I Made War Propaganda… Let’s
not go there Lil… but she is never-the-less excellent in Hearts. It’s easy to forget that this was before she had finished
establishing herself. She was excellent in many Biograph shorts, Birth and
rocked that cradle really well in Intolerance but only showed her singular
fluency with Susie, East, Blossoms and beyond. This film was undoubtedly a major
stepping stone on the road to this pre-eminence.
Dorothy disrupts |
By the same token, just as Constance Talmadge almost
stole the show with sheer comic exuberance in Intolerance, another “younger sister” Dorothy is the stand-out
light relief here. Those saucy snippets in Nell
Gwyn came rushing back to haunt me as I watched her stomp through her
scenes, poking all the boys, winking and pulling faces: happy, energised
contortions the mirror of Lillian’s gentle miseries and elegant desperation.
If the 'tache fits... Bobby Harron |
A tip of the helmet should also go to Robert Harron,
another Griffith regular, who acts as L Gish’s love interest (not that D Gish
didn’t try) and the central embodiment of cross-channel courage and fortitude.
Mr Harron hardly ever seems to be without a moustache (even in Judith…) but
here he wears it well and shows why the director placed such store in his
abilities. A sprinkling of Harrons also appear as extras: DW believed in keeping it in
the families.
Writing in the mid-seventies, Griffith
biographer Edward
Wagenknecht said that Hearts “is the hardest of all his major productions
to evaluate fairly today” but I’m not sure that’s the case, especially after last year’s
centenary of the Great War but also because the atrocities have never stopped
happening and now everything is televised. The terror is with us and we want to believe that good will out and that there is a point in fighting and sacrifice.
The Boy with his brothers |
Hearts is about the
civilians caught up in conflict and its focus is as much on the non-combatants’
struggle to survive – children, parents, wives and lovers – as the military
process. On the latter score, you certainly feel part of a genuine conflict and
one that has its own brutal rules of organisation, be it the Allies ebb and flow
attack over each trench to the beleaguered village to the large-scale mechanics
of the trench and field.
The story is centred in a French village in which two
American families have settled. The eldest son of one family, The Boy (Robert), is in love with the daughter of a the other, The
Girl (Lillian) with the pastoral peace only occasionally interrupted by the antics of The Little Disturber (Dorothy). Years before the
current vogue for the media of “disruption” Dorothy was out there; she could
have worked in PR or even marketing...
The three stars |
TLD flirts with every living thing, especially The Boy,
but he’s only really got eyes for The Girl. The Gishes boss the film with their
charisma and evident deep preparation. Lillian and DW
gave Dorothy a walk they’d spotted for her character - nothing is left to
chance with acting crafted from the feet upwards. Further proof of that is in
evidence with Lilian’s physicality in True Heart Susie but here she is
not only holding herself differently she is more fuller faced and, for want of a better word, womanly: how
did she do that!?
Has the Boy been lost? |
Who will survive? The film is smart enough to balance the
causalities… there is an especially horrific death for The Boy's father - and leaves us in hope and fear right until the end.
The Hun and The Girl |
The Germans… I’ve seen worse (cinematically) and the presence
of an immaculate Erich von Stroheim adds a touch of authenticity: the right
clothes, carriage and demeanour. The chief officer is called Von Strohm (George
Seigmann) which is slightly confusing... he is horrible.
The Brits… in addition to the PM and his Foreign
Secretary, Sir Edward Grey, a host of London’s aristo agreed to appear as
extras in the film as well other notables. How many films can carry the credit:
Noël Coward as The Man with the Wheelbarrow?
Noel skilfully avoiding typecasting with his wheelbarrow... |
The narrative is well paced and winds up to the usual
multi-tracked jeopardy Griffith invented/mastered so well: you know what’s
happening but you can’t stop being affected by it. Set the controls for the
edge of your seat as the Brits are driven back by mustard gas, the French
advance is reversed and The Girl and the Boy look doomed as they are trapped
between two sets of desperate Huns. The Girl urges The Boy to take her life and his and there
seems no way out… can anyone save them?
The Girl loses her mother... |
Hearts of the World is over two hours long and yet it fairly zipped
along greatly helped by Mr J Sweeney’s tireless improvisations on piano. The film has a
rhythm that involves both player and audience and John adeptly plugged
into this, inserting so many rewarding textures and lines around the core beats. His
enjoyment was transmitted and the select and very well-informed audience
responded in kind.
You want a little disturbance!?! |
So, in conclusion, a film clearly made on the roll from The Big Two of
15/16 and a more nuanced propaganda piece than even its author felt post
production. Hearts was very successful released into the final six months of
the war and no doubt helped to bolster support for America’s European
intervention: a war that had to be won and could so easily have been lost with
or without US intervention.
The film is available but not as it should be. There's no "official" DVD release yet you can see a version on YouTube and the Internet Archive - neither is as good as the print we watched and it deserves better.
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