Gallery of Lillian Gish Images

Publicity for Lillian's 100th film "A Wedding," where, according to one critic, she played a corpse. Background smiling is co-star Carol Burnett. 1978.

Lillian in Broadway play "Anya" in which she "sang" "Little Hands." 1965. You can hear Lillian from the cast album on YouTube.

Poor, poor Lillian as Carrie Watts in "The Trip to Bountiful" during its short Broadway run.1953

 Avec Letty "Le Vent" 1928. MoMA 2013.

 Print advertisement, maybe from NYT, for tickets to "The Trip to Bountiful." Some print ads called the play "Lillian Gish's Masterpiece." 1953

Publicity photograph of Lillian for Broadway production of Horton Foote's "The Trip to Bountiful." 1953

 Honoree Lillian Gish advising President Reagan on the arts. State Department.

 Lillian on the cover of a movie magazine circa 1920s

 One of Lillian's many letters to Oliver J. Dragon. 19502

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Dorothy and Lillian on Classic Magazine

Comic of Lillian circa 1970s Silent cinema was no place for sissies. Comic has her being chased by DW Griffith who is shooting a loaded revolver and mentions her swimming in icy waters and still going strong.

Jim Patterson, Editor

Amateurishly Written The Birth of a Nation Story

Lillian Gish mentioned this project in a Hedda Hopper column in the mid-1960's. The "book" is an over sized 96 page paperback amateurishly written and published. It is by Roy E. Aitken, who claimed to own control of the film at the time, as told to Al P. Nelson. It is a Denlinger Book, Middleburg, Virginia, 1965. It appears to be intended to spark interest in a re-make of the racist film.

Amateurishly written and published "book" in which Aitken tells the story of how the Birth of a Nation was made, how much money it made and an appeal to anyone to help him re-make it as a sound film in 1965!!!!!!!!


It contains 111 black-an-white photographs, 18 of them scenes from The Birth of a Nation. Photos include Lillian Gish, Charlie Chaplin, Hedda Hopper, Miriam Cooper, Fatty Arbuckle, Douglas Fairbanks, Mary Pickford, Wallace Reed, and a host of others from the silent era whether or not they were involved  with the production of The Birth of a Nation.

The Birth of a Nation Story's Foreword has some interesting commentary.

"The Civil War and Reconstruction period film with its stirring battle scenes and portrayal of the confused, tragic postwar years, has been seen by 100,000,000 Americans. The picture has been acclaimed for its stirring, panoramic sweep, its artistry and the introduction of many new movie techniques.

"Some persons and groups bemoan the continued exhibition of the picture due to the racial problems in the story, which is adapted from [Rev.] Thomas Dixon's novel The Clansman. The co-authors of the Birth of a Nation story, especially Roy E. Aitken, who owns controlling interest in the Birth of a Nation film, have clung tenaciously to the facts in relating the dramatic events surrounding the producing of this American epic, and its exhibition over a period of almost fifty years.

"The record reveals that many minority groups have persistently and vigorously boycotted the showing of this motion picture. claiming that it creates racial problems. Perhaps it is the misfortune of the Negro race that certain members of it are shown to disadvantage in The Birth of a Nation film. History has shown that the minority of the liberated Negroes who were involved politically in  the turbulent Reconstruction period were usually spurred to action and dominated by unscrupulous white carpetbaggers.

"The white man, the red man, the yellow man, and the brown man have no monopoly on cruelty, hate greed, rape or any other human failing. This has often been demonstrated in newspaper and magazine articles, in plays, short stories and novels. When factual or fictional spotlight turns upon the Negro, as it does in some measure in The Birth of a Nation movie, he has no choice but to bear the scrutiny and the ignominy of it. In company with his white, red, yellow, and brown brothers, he can only hang his head in shame. From such universal shame, perhaps Man will identify and study his family racial problem and begin to try to solve it.

"This is said to be the age of inquiry and scientific approach. We ask readers of this book to regard this reportorial account of The Birth of a Nation story as an account of the impact of a great motion picture upon three generations of Americans. If the Birth of a nation movie has a little dust on its garments and mud on its feet, these have inevitably been gathered by following realistic characters who almost always have feet of clay.

"That The Birth of a Nation evidences much historical accuracy, and also dramatic truth, is attested by the many requests that come annually from colleges, universities, museums, private art and film groups, and others to show the picture. Recently, parts of this historic film were shown on the British
Broadcasting system and the National Broadcasting System.

"In a lengthy opinion on the Birth of a Nation in 1915 the National Board of Censorship said, in part, 'If the picture tends to aggravate serious social questions and should therefore be wholly forbidden, that is a matter for the action of those who act on similar tendencies when they are expressed in books, newspapers or on the stage/. On what basis of reasoning should a film play be repressed whose subject matter has already been allowed the freest circulation both in a novel and in a play?'"


Comment:
Wow! Talk about poorly written. Perhaps it is written this way to cover its real racist message.

First off, Rev. Dixon's novel was fiction not history.  Secondly, the release of this "book" in 1965 seems intended to benefit from white backlash at the Civil Rights struggle of the time and the struggle for voting rights for African Americans in the South. It seems intended to capitalize on racial violence as a solution to the "problem." Perhaps this is why the book is amateurish.

The argument that "white carpetbaggers" "dominated" and "spurred" Negroes to action is loaded language. Newly freed from slavery, Negroes could not depend on former slave owners to give them their rights as free and equal citizens. This did not happen during Reconstruction and for over 100 years more due to Jim Crow, white superiority, segregationist politicians like Orville Faubus in Arkansas, Ross Bartlett in Mississippi, and the dreaded George C. Wallace in Alabama.

Racist senators from all these states worked with the racist governors to delay civil rights legislation and maintain a segregationist South. They were an imposing block of senior lawmakers (Jim Eastland, John Stennis, John Sparkman, Lister Hill, Herman Talmidge, and other) who refused to go along with President Johnson's leadership on civil rights. Johnson put together a Congressional majority of non-South Democrats and Republicans to pass civil rights legislation that finally ended segregation and brought freedoms to the South.

Acknowledgments include: Actresses Lillian and Dorothy Gish, Hedda Hopper, Enid Markey, Mae Marsh, Anita Loos, Gloria Swanson, and many others.

The authors conveniently include President Woodrow Wilson's quote after seeing the film at the White House; "It is like writing history with lightning. And my only regret is that it is all so terribly true."   Director D. W. Griffith did get a great quote from the president, but the book the film was based on was FICTION! The authors tell us Wilson wept over the film. Really!

In 1950 journalist Max Lerner (1902-1992) wrote in the New York Post

"If you want to see an elaborate excuse for racist hate, presented in the guise of a movie classic, you will find it in David Wark Griffith's Birth of a Nation.

"I saw it the other night for the first time. Once is more than enough. I could have lived out the rest of my days in perfect serenity and presented myself in due course before the Angel Gabriel with complete assurance that the gates would not be swung closed against me merely because I had failed to pay obeisance to a classic of racist passion, rape and lynch-law.

"Having seen it, I want to tell you about it so that you may save your time for something better, and spare yourselves the ordeal.

"The picture has been called an epic. It is just that--an epic of the rise of the Ku Klux Klan, with a justification of its birth and violence. I suppose the movie historians are enamored of its handling of big crowds, and its battle and mob scenes, in the grandiose tradition which Cecil B. De Mille has dubiously carried on. But even on this score it has little that has not been done far better since in many Grade B Westerns ..."

The Birth of a Nation Story ends with the authors hoping against hope to re-make Birth of a Nation. It is testimony to a more civil society, it has not been re-made.  Griffith did get an honorary Academy Award in 1936, he was photographed with two stars from Birth of a Nation Donald Crisp and Henry B. Walthall, for his films but he could not get financing for a re-make of Birth of a Nation. It is amazing anyone seriously thought they could finance a re-make of this film in the mid-1960's. The authors must have been blind to the changing times.

The authors of The Birth of a Nation Story make some amazing statements. From a chapter titled "Defense of the Picture," the authors tell us, "Anyone who has read Thomas Dixon's Clansman knows that Griffith's script treats the Negro much more sympathetically than did Dixon's novel."

Griffith did not have a formal written script for Birth of a Nation. I've read the two Dixon novels, The Clansman and The Leopard's Spots, on which Birth of a Nation is based and they are brutally racist novels.  In a 1937 article, Miss Gish  wrote D.W. sensationalized racism far beyond the books.

Baptist Minister Thomas Dixon feared cities would ban the film and he would lose revenue. He took a religious approach to defending screenings of Birth of a Nation. He penned a treatise entitled, "The Action of the Negro Inter-Marriage Society Against the Play." He argued anyone who wanted to ban screening of the film was a member/supporter of this society.

In 1930 Birth of a Nation was re-released with a soundtrack and an opening "conversation" between Griffith and actor Walter Houston. You can find it on YouTube. It is about 6 minutes. Griffith tells Houston the Birth of a Nation was true and the Klan was needed at that time, meaning Reconstruction.

A newspaper article included inside the book follows:


'Birth of a Nation' Stopped April 1978 Riverside UPI

Blacks should not be offended by D. W. Griffith's classic 1915 film "Birth of a Nation," which admittedly is a racist movie, but should view it in historical perspective for the strides blacks have made since the early part of the twentieth century, museum officials said Thursday.

Ron Pidot, curator of education for the Riverside Municipal Museum, thus reacted with disappointment to a vote of the City Council to cancel a showing of "Birth of a Nation," which was screened for the first time in Riverside Jan. 1, 1915

The council voted 4 to 1 to stop the showing scheduled for Thursday night after hearing complaints that the film was racist and offensive to blacks.

The movie is to be screened at the museum again April 20 and Pidot said the museum will try to convince blacks and city officials that the film should be seen because it is "singularly the greatest cinematic achievement in the history of the cinema."

"The movie is racist," said Pidot, "but you have to remember that Griffith was the son of a southern confederate officer who had strong feelings against blacks.

"If anything, it is important for the black community to view the movie in historical perspective to see where the stereotypes of blacks came from. To see the activities of the Ku Klux Klan and the atrocities it committed is just totally unacceptable to today's awareness."

Historical note: Rioting stopped the film's screening in San Francisco.

Final Note: Obviously Miss Gish should not have helped publicize this trash book in Hopper's column. I found no direct quotes from her or any desire to be associated with a remake of the film. Neither Mary Pickford or Charlie Chaplin would finance a remake. No studio would finance.


Jim Patterson, Editor

TV Career of Lillian Gish (1949-88)

Lillian Gish appeared, mostly in above average TV projects dating from 1949 to the PBS documentary on her life in 1987.

As a guest Lillian appeared in:

"Philco TV Playhouse: The late Christopher Bean, NBC, 1949

"Ford Television Theater Hour: Outward Bound" CBS, 1949

"Celebrity Time," CBS, 1950

"Philco TV Playhouse: Birth of the Movies," NBC 1951

"Robert Montgomery Presents: Kadies in Retirement," NBC 1951

"Faye Emerson's Wonderful Town," CBS, 1951

"Celanese Theater: The Joyful Season," ABC, 1951

""Schlitz Playhouse of Stars: The Autobiography of Grandma Moses," CBS, 1952

"Goodyear TV Playhouse: A Trip to Bountiful," NBC, 1953 (Began friendship with Eva Marie Saint)

"Christmas Festival of Music," CBS, 1953

"Robert Montgomery Presents: The Quality of Mercy," NBC, 1954

"Campbell Soundstage: The Corner Drugstore," NBC, 1954

"Person to Person," CBS, 1954

""The Ed Sullivan Show," CBS, 1955 (Lillian and Robert Mitchum recreated a scene from "The Night of the Hunter."

""Kraft Television Theater: I, Mrs. Bibb," NBC, 1955

"Wide, wide World: Our heritage," NBC, 1955

"Playwrights '56: The Sound and the Fury," NBC, 1955

"Ford Star Jubilee: The day Lincoln Was Shot," CBS, 1956

""Alcoa Hour: Morning's at Seven," NBC, 1956

"Play of the Week: The Grass Harp," SYN, 1960 (Lillian began her friendship with Truman Capote.)

"Theater '62: The Spiral Staircase," NBC, 1962

"The du Pont Show: The Beauty of a Woman," NBC, 1962

"The Defenders: Grandma TNT," CBS, 1962

"Mr. Novak: Hello,Mrs. Phipps," NBC, 1963

""The Breaking Point: The Gnu, Now Almost Extinct," ABC, 1963

"The Alfred Hitchcock Hour: Body in the Barn," CBS, 1965

"The Defenders: Stowaway," CBS, 1964

"Arsenic and Old Lace," ABC, 1969

"The Joey Bishop Show," ABC, 1969

"The Merv Griffin Show," SYN, 1969 (Memories with Arthur Treacher.)

"The Mike Douglas Show," SYN, 1969

"The Dick Cavett Show," ABC, March 1970 with Salvador Dali, Satchel Paige. Dali put his anteater in Lillian's lap. She was NOT happy.

"The Dick Cavett Show, ABC, March 11, 1971 Lillian with Jean-Pierre Rampal, Julius Baker, Satchel Paige

"The Merv Griffin Show," SYN, 1970

"Dinah!," SYN, 1978

"The Mike Douglas Show," SYN, 1978

"Donahue," SYN, 1978 (Began friendship with Lauren Hutton)

"Festival of Lively Arts for Young People: The Seven Liveliest ... But Who's Counting?" CBS, 1979

"The Dick Cavett Show," PBS, January 25, 1979 Lillian with Malcolm  Cowley

"The Love Boat: Issac's Teacher/Seal of Approval/The Successor," ABC, 1981

"The Tonight Show," NBC, 1983 Host Joan Rivers

"Night of 100 Stars features Silent Screen Actresses," CBS, 1985

"CBS Morning Show," CBS, 1987 Interviewed by Mariette Hartley.,

TV Movies and Miniseries:

"Twin Detective," ABC, 1976 (Starring Hager Twins from TV show Hee Haw)

"Thin Ice," ABC, 1981 (With Kate Jackson)

"Hobson's Choice," CBS, 1983 (With Richard Thomas)

"The Adventures of Huckleberry Finn," PBS, 1985 with Jim Dale New to DVD


Missing are Lillian's several appearances on PBS shows, Academy Awards Speech, and a few others.


TV appearances by Dorothy Gish 1949-1961 Though best known for her comedy parts in silent film, her TV roles were mostly dramatic parts.

"Philco TV Playhouse: The Story of Mary Surratt," NBC, 1949

""Ford Theater: Spring Again," CBS, 1951

"Prudential family Playhouse: The Bishop Misbehaves," CBS, 1951

""Starlight Theater: The Magnificent Faker," CBS, 1951

"Pulitzer Prize Playhouse Detour," ABC, 1951

"Ford Theater: One Day for Keeps," CBS, 1951

"Robert Montgomery Presents: The Post Road," NBC, 1952

"Philco TV Playhouse: The Oil Well," NBC, 1953

"Robert Montgomery Presents: Harvest," NBC, 1953

"U.S. Steel Hour: The Laphams of Boston," ABC, 1954

"Philco TV Playhouse: The Shadow of Willie Greer," NBC, 1954

"Elgin TV hour: Flood," ABC, 1954

"Lux Video Theater: Miss Susie Slagel's," NBC, 1955 (Lillian's film)

"Alcoa Hour: Morning's at Seven," NBC, 1956

"Play of the Week: Morning's at Seven," SYN, 1961

Performers, Television Credits, 1948-2000
David M. Inman, volume 2: G-M
McFarland & Co. 2001


Voice work:

Lillian Gish, My Religion
Lillian Gish, Broadway Cast Album, Anya


Jim Patterson, Editor

Readers: If you can document other credits for either sister, please leave a note. Thanks!

Lillian's You Can Have What You Want Guideposts 1949

Lillian Gish and her publicity photo for Dr. Norman Vincent Peale's Guideposts, July 1949.

You Can Have What You Want by Lillian Gish (c) Guideposts

"People won't take religion in movies." We heard that everywhere.

In the middle 1020's I wanted to make "The White Sister," but nobody would hear of it.

"Are you crazy? Who'd pay to see you ina nun's robes with your long blonde hair hidden?"

"Religion is a dangerous topic-believe me, you're flirting with poison."

My own early religious training may have given me faith in the success of "The White Sister." I was brought up an Episcopalian, baptized and confirmed by Bishop Leonard of Ohio who had performed the same service for all my family. My mother sent us to Sunday School, took us regularly to church and, when we were travelling, read to us from the Bible on the trains or boats at service hour.

Throughout my life-whatever might be the pressure of affairs-I have never failed to get spiritual refreshment from the Three Hours devotion on Good Friday. I believe firmly in saying: "Pray as if everything depended on God; act as if everything depended on yourself."

We made "The White Sister" independently, raising capital to d it. When we were refused a release, it occurred to me that perhaps Henry Ford wuld allow us to use his automobile showrooms throughout the country or, failing that, we could tour the nation with it as a tent show.

But when Nicholas Schenck saw the picture, he believed in its possibilities and decided he would release it on his own. Instead, however, he persuaded Metro-Goldwyn-Mayer to give us a release.

This religious picture made a fortune for all its investors. Why wouldn't people be interested in entertainment with strong spiritual import, since there are more churches than theaters in America?

Today, religious subjects are treated often and well; some rank high among the public's favorites. But to my mind, the field has not been tapped- there's a great well of thrilling sacred topics to gush forth with new, warming and enriching influence for a dry cold world.

When David Wark Griffith died, I was asked to write an appreciation of him. I sat at my desk trying to estimate what was perhaps one of the greatest men I ever knew, as well as a dear friend. Most of the world credits him with being the inventor of the motion picture-the originator of telling a dramatic story with films. It took a generation to recognize the Wright Brothers and bring the Kitty Hawk planes from England for our Smithsonian Institute. Some day, David Wark Griffith will be honored and ranked here as he deserves. (Ed Note: She writes as if he were still alive.)

I can call the man a genius without fear of exaggeration. Knowing the power of his invention, he treated it with deepest respect. He knew, as no one I've ever met, the tremendous influence of a story in pictures, and hence the double-barreled impact of motion pictures. In The Birth of a Nation, he presented a needed and moving story. He made it for $90,000 and it sold for over $60,000,000.

This monetary success immediately changed films from a new and struggling art form into the big business bracket. The great power of the motion picture was now established.

Motion pictures contain the greatest potentialities for propaganda that the world has ever known, and Europe recognized that as far back as 1917 when D. W. Griffith was sent for to produce propaganda films for the British and French governments. You can imagine what might be done if films fall into the wrong hands! I believe that films are so important that we should have a Cabinet representative to represent the film industry.

Perhaps Mr. Eric Johnston is working into this - I hope so

There has been much justified complaint about vulgarities, crime and general lowering of standards in pictures. But you-and you alone-can stop it. Producers and theaters owners are busy giving the public "what it wants." You needn't want what they turn out.

I do not believe in censorship in any form or any degree, and I would fight it to my last breath. But I do believe in any person's having the right of selection. I do believe an audience has the dignity of choice. Nobody need read a book, buy a painting, or attend a meeting of which he or she disapproves.

Remember, your dollars are wanted; your excited interest is all important. A whole industry has unlimited talent and machinery to give you what you want. All it needs to know is that you want intellectual and spiritual stimulation with your entertainment.

It is easy for you to change things. You have the power to hand on to you children a full measure of taste, judgment and discrimination in the form of fine motion pictures.

If you do not lend our support to plays, personalities, or movies of which you disapprove, that infallible barometer-the box office-will soon make it known, and they will fall from sight. Your enthusiasm is needed in order that the people behind the productions-the producer, the theater manager, the star, the director, will have the courage of their convictions and go on to better things. So send them word in some way of your approval.

As for the children, there should be films for different age groups. A wealth of stories for young people exists in our literature-exciting and satisfying enough and still worthy entertainment. Consider the problem yourself, how impossible it is to make a single film suitable both for a child of six and an adult of forty. When this is attempted, there is bound to be a failure for both.

Be selective. Don't take your children to the pictures you wish to see yourself if they have been designed exclusively for adults. You would not take a volume of Nietzsche or Schopenhauer from your library shelf and give it to your 10-year-old to read.

You are the one to determine the films of the future,!

(c) Guideposts

Bio note with article: "Lillian Gish is pictured here in 'The White Sister.'  Beloved the world over ever since her appearnce in 'The Birth of a Nation,' and saluted by all for her creative integrity, Miss Gish has enjoyed 35 years of theatrical stardom. Last year theatergoers witnessed her great portrayal in 'Crime and Punishment.' Her most recent film is 'Portrait of Jenny.'"

Ed Note: This is an interesting article that gives us insight into Lillian's faith and her conviction in her film "The White Sister." It was a great role for her. Her leading man was Ronald Coleman. They remained friends until his death.

Reportedly, her leading man was to have been Raymond Navarro. He regretted losing the part and pestered Lillian about it for years. The film might have been a success with him as the film was mostly Lillian's character. Navarro, a closeted gay, tried to sell Lillian on his amazing ability to write horoscopes and pestered her to buy them from him.

I found an article on Navarro a few days ago.


Jim Patterson, editor

Jim Patterson on 2014 Selections to the National Film Registry

Films Selected for the 2014 National Film Registry

• 13 Lakes (2004)
• Bert Williams Lime Kiln Club Field Day (1913)
• The Big Lebowski (1998)
• Down Argentine Way (1940)
• The Dragon Painter (1919)
• Felicia (1965
• Ferris Bueller’s Day Off (1986)
• The Gang’s All Here (1943)
• House of Wax (1953)
• Into the Arms of Strangers: Stories of the Kindertransport (2000)
• Little Big Man (1970)
• Luxo Jr. (1986)
• Moon Breath Beat (1980)
• Please Don’t Bury Me Alive! (1976)
• The Power and the Glory (1933)
• Rio Bravo (1959)
• Rosemary’s Baby (1968)
• Ruggles of Red Gap (1935)
• Saving Private Ryan (1998)
• Shoes (1916)
• State Fair (1933)
• Unmasked (1917)
• V-E + 1 (1945)
• The Way of Peace (1947)
• Willy Wonka and the Chocolate Factory (1971)

Happy to see Grace Cunard honored. Into the Arms of Strangers is a wise choice for our times. Rio Bravo is a truly great western and I do not like westerns. John Wayne, Dean Martin, Walter Brennan, Ricky Nelson, Ward Bond, Angie Dickinson and John Russell were all great! 

V-E +1 is another timely choice and a remarkable film. State fair with Will Rogers is great as is Shoes. I never understood the popularity of Willy Wonka. Nice to see Charles Laughton and a fine cast honored with Ruggles of Red Gap (1935). Dragon Painter and  Please Don't Bury Me are two great choices.

My Washington office has already nominated Way Down East, An Unseen Enemy and The Whales of August for 2015. 

Jim Patterson, Editor

LDGish.blogspot.com

Forever New: A Poem for Lillian Gish

From among the thousands of poems people sent Lillian, here is one she shared. It's a nice holiday poem.

Forever New

Don't fear, my love, that when I've been with you

There's ever aught of luster lost to view;

That I should thirst the less for what you've giv'n

Were like an angel gro9wing tired of Heav'n;

There is no slaking thirst for such a mead,

Not all your bounty could o'erflow my need;

Could mind of man hold more than it conceive,

Then might my heart, at best, its joy believe;

Each time, I come to you with virgin thirst,

And leaving, know the next time will be first;

This, truth transcending fancy seems untrue

And keeps this ecstasy forever new.


Poet: Leonard W. Bidwell
Date Unknown




"But now I know that I

Can walk with Spring by walking at your side

On any path you tread,

For I have found 'tis Spring that follows you."


From the volumes of poetry dedicated to and inspired by the art of Lillian Gish.


Jim Patterson, Editor