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