Sunday, October 2, 2016

Gish Prize Winner is Eizabeth LeCompte of the Wooster!

Photo
Elizabeth LeCompte, director of the Wooster Group, has been awarded the Dorothy and Lillian Gish Prize, which carries a cash award of about $300,000. CreditSara Krulwich/The New York Times
Elizabeth LeCompte, the director of the experimental theater company theWooster Group, has been awarded the Dorothy and Lillian Gish Prize, which is given annually to an artist who pushes the boundaries of an art form and contributes to social change.
The prize, established in 1994 through the will of the actress Lillian Gish, carries a cash award of about $300,000, making it one of the richest arts prizes in the United States. Previous winners include Suzan-Lori Parks, Anna Deavere Smith, Spike Lee, Frank Gehry, Bob Dylan and the lighting designer Jennifer Tipton, a longtime Wooster Group associate.
Ms. LeCompte, who trained as a visual artist, formed the Wooster Group in SoHo in 1975 with Spalding Gray. Since then it has created more than 30 pieces under her direction, many of which incorporate film, video and recorded sound in performances of classic texts by Shakespeare, Chekhov, Eugene O’Neill and others, creating what the prize announcement called “startlingly innovative, collagelike works.”
The group’s recent productions include “The Town Hall Affair,” based on Chris Hegedus and D.A. Pennebaker’s documentary about the famous 1971 public debate about feminism between Norman Mailer and four female writers, and “Early Shaker Spirituals,” about a 1976 record by Sisters of the Sabbathday Lake Shaker community.
The prize will be awarded in November in a private ceremony at the Whitney Museum of American Art. Ms. LeCompte, whose previous honors include MacArthur and Guggenheim fellowships, said in a statement that the prize was an affirmation of the work of the entire company.
“There’s a tendency with theater to think of each show as its own beginning and end, but what’s important to me is the whole thread of the work,” Ms. LeCompte said, adding, “I’m deeply grateful to the Gish Prize for recognizing that our company is still in it for the long haul.”

Saturday, October 1, 2016

Profile of Lillian Gish by Philip Van Rensselaer





Beautiful portrait of Lillian Gish from her early silent film years, likely before 1918. Artist unknown.  



My World by Philip Van Rensselaer Note: Profile of Lillian Gish
Lillian Gish recalls her golden career

“What an intriguing woman Lillian Gish is to talk to. Miss Gish was serenely sitting in a lime-green silk armchair that made her fine eyes very blue, her skin very clear and pink. We were in her feminine living room with its ivory colored walls and charming French antiques of the 18th century with lots of books lining one wall and some quiet Grandma Moses paintings. Miss Gish was pouring tea into pink porcelain cups, and she was telling me in her low, well-modulated voice about the early days of the movies, and her career in films, TV and the theater over half a century.

“You’d never dream that Miss Gish is in her 70s. Her figure is still slim; her eyes bright and shining, her manner eager and curious and child-like. And her hair is still ash blonde and falls to her waist; of course now, it was drawn simply back at the nape of her neck. Miss Gish and I had met in Capri some 15 years ago and gone on to a party for Joan Crawford; I can tell you how delighted I was to renew my friendship with Lillian Gish. She is such a soft, appealing person; she’s hard to resist.

“I asked her what was her secret of eternal youth, and a delicate smile played across her pink lips. ‘I’ve never smoked,’ she confessed. ‘I’m a very fastidious woman. If I go to those crowded cocktail parties, I come away with my hair smelling of smoke which I can’t abide.’

“Lillian Gish is the kind of person who stares you directly in the eye when she looks at you; you feel she is concentrating all her attention on you, which is very flattering. ‘I like a glass of champagne now and then,’ she continued in her gentle manner. ‘But really I have no talent for alcohol. When I’m at one of those parties, I always look around for a large green plant where I can pour my drink.’ She gave a soft laugh. ‘Lived 15 years in Europe and they don’t serve cocktails there; just wine, thank goodness.’

“Lillian Gish has just written a book called “The Movies, Mr. Griffith and Me.” It’s her memories of her fabulous past with Mary Pickford, the Barrymores, Helen Hayes, and everyone famous you can think of. Her sister Dorothy apparently discovered Valentino, and she discovered Richard Barthelmess. Miss Gish spent 12 years writing it, and the Readers Digest helped her with a good deal of the research. And now she’s touring all over the world showcasing her history of the movies from 1900 to 1930

“Miss Gish is very amused about all the films today. ‘We act as if we’ve just discovered sex.’ Her wide-apart blue eyes twinkled. ‘It’s been around a long, long time. ‘The Sound of Music’ was the greatest hit in Sweden; that’s a beautiful film; they can’t sell those awful dirty films in their own country.’

“Miss Gish gave me an intense gaze. ‘Do you know I’ve been acting since I was 5? I’ve always led a very disciplined life. We couldn’t be tired in the early days of movies. We worked seen days a week from dawn to dusk, and you had to generate a lot of electricity. I had to have electricity. I had to have so much energy. I was delicate as a child, but I got interested in health when I was 15, making all those films for D. W. Griffith, the father of films. I realized at an early age that you had to respect your body and not abuse it.’

“Her blue eyes wandered up to the ceiling for a moment in a thoughtful fashion. ‘I feel sorry for all these youngsters today. Of course, even in the old days we had drug addicts. Poor Wallace Reid died of drugs. But did you see what happened to Art Linkletter’s daughter? Of course, all these youngsters have been given so much; they have too much, they’re surfeited. If we got an orange in our Christmas stockings, we considered ourselves lucky’   

“I think beauty is so important; there seems to be no need for beauty here. Look at the filth on the streets and on the highways.’

 The telephone rang and Miss Gish got to her feet. ‘I’m just back in New York after a tour with my one-woman show of the movies so much to do …’

“:I kissed her fondly good bye, and hoped it wouldn’t be 15 years before we saw each other again.”

Source: My World by Philip Van Rensselaer
Early 1970s


Note: The column had a very unflattering photo of Lillian Gish wearing a conical hat and captioned “Lillian Gish is a very fastidious woman who has been acting since she was five.”  No photo credit given. A very nice photo of Mr. Philip Van Rensselaer appears with his arms crossed. See photo.   Both photos are black and white. No official date or name of publication. 

From this article, I submitted two quotes to BrainyQuotes and two other quote sites for their page of Quotes by actress Lillian Gish. The 2 quotes are:

"I have no talent for alcohol." 

"I realized at an early age that you had to respect your body and not abuse it." 

Friday, September 30, 2016

Lillian Gish Co-stars Celebrated on September 30 with comment by Jim Patterson

Lillian Gish in print advertisement "What Becomes a Legend" Circa 1980s




Two film star birthdays of September 30 figured in Lillian Gish’s career.

Ralph Forbes was Lillian’s love interest in The Enemy produced at MGM in 1927 and French actress Renee Adoree who impressed Lillian in 1925’s The Big Parade with John Gilbert.  The Big Parade was placed on the National Film Registry in 1992 for being "culturally, historically, or aesthetically significant”. Adoree starred in director King Vidor’s La Boheme with Miss Gish and John Gilbert in 1926. La Boheme is not currently on the National Film Registry. Adoree became a major star though died young from TB.

Ralph Forbes (30 September 1904[1] – 31 March 1951[2]) was an English film and stage actor in the UK and the United States. He started off in films, and then went on stage. In the United States he appeared onstage opposite actress Ruth Chatterton, who became his first wife in 1924; the couple divorced in 1932. He later married actress Heather Angel in 1934; that marriage also ended in divorce. His last wife, whom he married in 1946, was actress Dora Say. His last years were given to working on the Broadway stage. One of his last stage appearances was in a revival of Shaw's You Never Can Tell in 1948. He died at Montefiore Hospital in The Bronx, New York in 1951, aged 46.
Films: The Fifth Form at St. Dominic's (1921), A Lowland Cinderella (1921) , Comin' Thro the Rye (1923), Reveille (1924), Beau Geste (1926), Mr. Wu (1927), The Enemy (1927), The Trail of '98 (1928), The Actress (1928), Lilies of the Field (1930), The Green Goddess (1930), Mamba (1930), The Bachelor Father (1931), Beau Ideal (1931), Smilin'Through (1932), Christopher Strong (1933) starring Katherine Hepburn and directed by Dorothy Arzner, The Solitaire Man (1933), Pleasure Cruise (1933), The Mystery of Mr. X (1934), Riptide (1934), Twentieth Century (1934) with John Barrymore and Carole Lombard and directed by Howard Hawks, The Barretts of Wimpole Street (1934) with Norma Shearer, Fredric March, and Charles Laughton, Enchanted April (1935), Streamline Express (1935), The Goose and the Gander (1935), The Three Musketeers (1935), La Fiesta de Santa Barbara (1935 short), I'll Name the Murderer (1936), Mary of Scotland (1936) with Katherine Hepburn,, Fredric March and directed by John Ford, Romeo and Juliet (1936) with Norma  Shearer, Leslie Howard, John Barrymore, Basil Rathbone, Andy Devine and directed by George Cukor,  Daniel Boone (1936), The Last of Mrs. Cheyney (1937), Stage Door (1937), Kidnapped (1938)with Warner Baxter and Freddie Bartholomew, If I Were King (1938) with  Ronald Colman, Basil Rathbone and Frances Dee, The Hound of the Baskervilles (1939) with Basil Rathbone as Sherlock Holmes, The Private Lives of Elizabeth and Essex (1939) with  Errol FlynnOlivia de Havilland, The Magnificent Fraud (1939), Tower of London (1939) with Boris Karloff and Vincent Price, Calling Philo Vance (1940), Curtain Call (1940), Frenchman's Creek (1944) with  Arturo de CórdovaBasil Rathbone


Born September 30 1898 Renée Adorée, French actress (d. 1933) Star on the Hollywood Walk of Stars at 1601 Vine Street and dedicated February 8, 1960. Lillian’s star was added the same date at 1720 Vine Street.

Adoree had made about 20 films before she got her star making role in King Vidor’s 1925 The Big Parade. She is most famous as Melisande in the romance and war epic The Big Parade (1925) opposite John Gilbert. It became one of MGM's all-time biggest hits and a film that historians rank as one of the best of the silent film era. In The Mating Call a 1928 film produced by Howard Hughes, Adorée had a very brief nude swimming scene that caused a significant commotion at the time.
With the advent of sound in film, Adorée was one of the fortunate stars whose voices met the film industry's new needs. She would star opposite Lon Chaney and her former brother-in-law Owen Moore, make three more films with John Gilbert, and appear in four films with another leading Hollywood actor Ramón Novarro. She died virtually penniless in 1935.



About Jim Patterson 

Jim Patterson was a longtime friend of Lillian Gish and he travels to speak on her career, introduce her films, discuss their correspondence and speak on her writing and legendary research and preparation for her roles.  Contact: JEPWriter@gmail.com for assignments and availability. He has written over 200 articles on Lillian Gish and introduced her films at the San Francisco Public Library (The Whales of August), Niles Essanay Silent Film Museum (Way Down East) in Fremont, CA, and at US and UK film festivals. His work has appeared in San Francisco Examiner, San Francisco Chronicle, Christian Science Monitor, Auburn Magazine, Classic Images, and others.   

Thursday, September 29, 2016

Jim Patterson on Lillian Gish's September 29 1937


On September 29, 1937 Miss Lillian Gish opened in The Star Wagon at the Empire Theater in New York. The play was set in Eastern Ohio and ran for 223 performances. The production closed in April 1938. (Almost the 80th anniversary of this premiere.)
. Lillian lecturing President Ronald Reagan and Secretary of State George Shultz on, what else, the arts. Kennedy Center honors 1983. Washington DC Photo courtesy the Reagan Presidential Museum. 

The play was produced by Guthrie McClintic and written by Maxwell Anderson; Musical Director was Albert Pearl. Staging was by Guthrie McClintic; Scenic Design by Jo Mielziner; Assistant to Mr. Mielziner: Walter Jagemann; General Manager: Stanley Gilkey; Company Manager: William G. Tisdale; Stage Manager: James Neilson; Assistant Stage Mgr: Alan Anderson; Press Representative: Richard Maney

Plot:
The Star Wagon about a poor and eccentric inventor who escapes his wife’s crankiness via his titular time machine. The inventor escapes to his youth, at a time when he feels he should have married a pretty rich girl rather than his wife. The evergreen theme is that if you could live your life over again would you have made better choice?  

Casting was as follows:
Martha Minch

Stephen Minch

Christabel

Ripple

Park

Hallie Arlington

Hanus Wicks

2nd Thug

Apfel

Oglethorpe

1st Thug

Mrs. Rutledge

Paul Reiger

Misty

Della

Duffy

Angela

Herb Woman

Mr. Arlington 




Additional Notes:

N.Y. Times, Jan. 7, 1938: “The purchase of Maxwell Anderson’s ‘The Star Wagon’ was made today by Selznick International as a vehicle for Janet Gaynor. The play, which is being given on Broadway, will go before the cameras in the Autumn.” Gaynor retired her film career with The Young in Heart, released in November 1938, and the motion picture was never made.

Link to the plot for The Star Wagon which was filed as a movie and TV program in later years.  https://books.google.com/books?id=ciwdL9jp0OoC&lpg=PA48&ots=zApfhUkmvr&dq=plot%20of%20Broadway's%20The%20Star%20Wagon&pg=PA48#v=onepage&q=plot%20of%20Broadway's%20The%20Star%20Wagon&f=true

About James Patterson

Jim Patterson was a friend of Lillian Gish and he has written over 500 articles on their friendship, correspondence and her films and writings. Patterson is a Washington DC based writer and speaker and travels internationally on assignments such as introducing Miss Gish’s films, lecturing on her writings and reading and commenting on their correspondence. Contact: JEPDiplomat@gmail.com

Sunday, September 25, 2016

Lillian Gish Fan Art and Correspondence Jim Patterson Editor

On the cover of Script, October 1942. The Dream Princess of Hollywood (Note: Commandos Strike at Dawn) Lillian's birthday is October 14.


The American Rose Society named a rose in honor of Lillian Gish. 1985.

Holiday Telegram from Senator and Mrs. Jacob Javits circa early-mid 1960s. It is addressed to Lillian and Dorothy.


European sketch of Lillian circa 1920s.


Lillian Gish as "The White Sister" 1923.

Note from Vincent Price, Lillian's co-star in her last film "The Whales of August." Vincent's wife, Coral Browne Price died in 1991 and Lillian sent "warm and welcome words of sympathy." Vincent wrote: "My life is profoundly changed - I'll miss her for the rest of it."

Jim Patterson
www.LDGish.blogspot.com
www.JEPWriter@gmail.com

Friday, September 16, 2016

Sounds for Silents Foreword by Lillian Gish (1969) with Note by Jim Patterson




In  1970 Lillian Gish write the Foreword to the book Sounds for Silents, published by DBS in New York, and authored by Charles Hoffman. The odd sized purple book is unpaged with illustrations and facsimiles of musical compositions. The book also contains 1 sound disc (analog 33 1/3 rpm).

Foreword

To tell a story in pictures, unaccompanied solely by music, is difficult. It is a form more challenging that that with spoke words, which at best is bastard theater. The silent film with music is almost entirely a 20th century product. Nothing like it had ever been  seen before. . Here was truly a new art form. The age-old art of the theater, based on the author's words to reveal his plots and thoughts, spoken from a stage by players who are lighted and framed by the scenery of designers, is a vastly different art. In the silent film, earth and sky could dwarf ost scenery, and music was used to frame and enhance the story being told.

When we made the silent film version of La Boheme, the estate of Puccini was in litigation, making it impossible for us to use his music. A substitute score composed by Messrs. David Mendoza and William Axt was beautiful. The famous critic, George Jean Nathan,  said he thought it better than the one being sung at the Metropolitan Opera. It contributed greatly to the long runs enjoyed by that sad story.

No one today seems to understand this better than Charles Hoffman.

Today, his music for this same film has the same effect.

When I see old films run at the Museum of Modern Art here in New York, he uses his enormous musical repertory to heighten the mood of each scene. He memorizes the film and the music, blending the changes so adroitly  that you, watching, are unaware of how the intense vibrations of these sounds are created. Only when it is over, do you realize how your mind has been caught and held captive by what you have seen and heard.

The art of theater is seen and heard from too great a distance to look into the eyes of players and read their thoughts. On stage the voice, almost unaided, must reveal emotion, whereas the camera can be so intimate that it can give something like an x-ray of the human psyche. John Barrymore, who knew both arts well, said that if the camera held your face on screen long enough, it would not only reveal what you had for breakfast, but tell who your ancestors were.

Many of our modern films seem to be returning to the purer forms of telling a story in motion pictures, depending upon music and animation rather than words.No doubt there are minds at work now with enough creative imagination to convert film into a universal language understood by everyone everywhere. What an enormous force and help it would be if each one involved took the responsibility for what he was saying. Such power goes far beyond the printed word. It could show the problems, work out solutions, or at least clarify, simplify and lead to helpful, even peaceful, understanding. Then those films with music could be sent around the world as the Universal Esperanto!

Lillian Gish
New York
1969

Jim Patterson Note: The silent La Boheme, often described as the non-Puccini version for the reason Lillian cited, was an MGM production directed by Texan King Vidor and released in 1926. This was the only screen pairing of Lillian with John Gilbert, who gained stardom as the on-screen lover of Greta Garbo. Lillian's most remembered leading man, she also starred with Ronald Coleman, whose film career rose in the 1930s, "Lost Horizon" and he remained a leading man until his death. Coleman's widow acknowledged Lillian's condolences with a card that said, "Ronnie's in Shangra-La."



Gish Writing and Film Scholar Jim Patterson at Gish Prize ceremonies in New York. 2014.
Recipient Maya Lin.

Wednesday, September 7, 2016

Gish Scholar Jim Patterson with fan Art of Lillian Gish Various Years

Fan Art of Lillian circa 1920s

Fan Art of Lillian circa 1920s

Fan art of Lillian inspired by her role in "The White Sister" 

Fan art of a mature Lillian Gish circa 1950s

Fan art of Lillian circa 1910s

Fan art of Lillian inspired by her role in "The Scarlet Letter" (MGM)


A cartoon tribute to Lillian's early silent work with DW Griffith chasing her while shooting a gun to see her reaction.