Way Down East | |
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Directed by | D. W. Griffith |
Written by |
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Based on | Way Down East by Lottie Blair Parker |
Produced by | D. W. Griffith (uncredited) |
Starring | |
Cinematography | G.W. Bitzer |
Edited by | |
Music by |
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Distributed by | United Artists |
Release date |
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Running time | 148 minutes |
Country | United States |
Language | Silent (English intertitles) |
Budget | $800,000 [1] or $635,000 [2] |
Box office | $7,500,000 [2] |
Way Down East is a 1920 American silent romantic drama film directed by D. W. Griffith and starring Lillian Gish. It is one of four film adaptations of the melodramatic 19th century play of the same name by Lottie Blair Parker. There were two earlier silent versions and one sound version in 1935 starring Henry Fonda. [3] Griffith's version is particularly remembered for its climax in which Gish's character is rescued from doom on an icy river.
Anna is a poor country girl who is tricked by handsome man-about-town Lennox into a fake wedding. When she becomes pregnant, he reveals the truth of their relationship and leaves her. She has the baby, named Trust Lennox, on her own in a boarding house.
When the baby dies she wanders until she gets a job with Squire Bartlett. Despite being unofficially engaged, David, Squire Bartlett's son, falls for her, but she rejects him due to her torrid past. Lennox then shows up as an old friend of the Bartletts, and lusting for another local girl, Kate. Seeing Anna, he tries to get her to leave, but she refuses to go claiming she never did anything wrong, although she promises to say nothing about their history.
Finally, the woman running the boardinghouse while visiting the Bartletts recognizes Anna. Squire Bartlett eventually learns of Anna's past from Martha, the town gossip. In his anger, he tosses Anna out into a snow storm. She agrees to go, but not before naming the respected Lennox as her despoiler and the father of her dead baby. She becomes lost in the raging storm while David leads a search party. The unconscious Anna floats on an ice floe down a river towards a waterfall, until rescued at the last moment by David, who then marries her.
Actor Lillian Gish, referring to the famous “chase sequence on the ice-floes,” quipped: “All that winter, whenever Mr. Griffith saw an ice cake, he wasn’t satisfied till he had me on it.” [4]
D. W. Griffith bought the film rights to the story, originally a stage play by Lottie Blair Parker that was elaborated by Joseph R. Grismer. Grismer's wife, the Welsh actress Phoebe Davies, became identified with the play beginning in 1897 and starred in over 4,000 performances of it by 1909, making it one of the most popular plays in the United States. Davies died in 1912, having toured the play for well over ten years. The play, an old-fashioned story that espoused nineteenth-century American and Victorian ideals, was considered outdated by the time of its cinematic production in 1920. [5]
The story rights were purchased for $175,000.[ citation needed ]
Some sources, quoting newspaper ads of the time, say a sequence was filmed in an early color process, possibly Technicolor or Prizmacolor. [6] [7]
Clarine Seymour, who had appeared in four previous Griffith films, was originally cast in the role of Squire Bartlett's niece, Kate. After Seymour's untimely death, Mary Hay was cast and Seymour's scenes were reshot.
The famous ice-floe sequence was filmed in White River Junction, Vermont. An actual waterfall was used, though it was only a few feet high; the long shot where a large drop is shown was filmed at Niagara Falls. [8] The ice needed to be sawed or dynamited before filming could be done. During filming, a small fire had to be kept burning beneath the camera to keep the oil from freezing. At one point, Griffith was frostbitten on one side of his face. No stunt doubles were used at the time, so Gish and Barthelmess performed the stunts themselves. Gish's hair froze, and she lost feeling in her hand from the cold. [9] [10] It was her idea to put her hand and hair in the water, an image which would become iconic. Her right hand would be somewhat impaired for the remainder of her life. The shot where the ice floes are filmed going over the waterfall was filmed out of season, so those ice floes are actually wooden. Cinematographically, the ice floe scene is an early example of parallel action.
Similar to other Griffith productions, Way Down East was subjected to censorship by some American state film censor boards. For example, the Pennsylvania film board required over 60 cuts in the film, removing the mock marriage and honeymoon between Lennox and Anna as well as any hints of her pregnancy, effectively destroying the film's integral conflict. [11] The resulting film may have surprised viewers in that state when a child suddenly appears shortly before its death. Other cuts removed scenes where society women smoke cigarettes and an intertitle with the euphemism "wild oats." [11]
Although it was Griffith's most expensive film to date, it was also one of his most commercially successful. Way Down East is the fourth-highest grossing silent film in cinema history, taking in more than $4.5 million at the box office in 1920. [12] The picture was “second only to his Birth of a Nation (1915) as a money-maker.” [13]
It played as a roadshow, then earned $2 million as a normal release. [1]
The film earned $1 million in profit. [14]
After viewing the drama at a public screening in 1994, film critic Mark Adamo of The Washington Post was especially impressed with Gish's performance and with Griffith's highly innovative "cinematic style":
What's astounding about the film is not that the rickety conventions of 1890s stage melodrama dog its every frame. (Even the film's seeming pioneering of feminism is hoary: the Leviticus-style titles would have us believe that Lillian Gish's tremulous ingenue fallen prey to a heavily mascaraed roue is "the story of Woman.") What's amazing is that so much of Gish's tough, funny, intuitive performance, particularly in the film's middle section as she bears her illegitimate child, transcends time, place and technology. Equally amazing is Griffith's mighty striving, with his arty location shots, quirky close-ups and riskily staged set pieces, to forge a new and expressly cinematic style. [15]
“Way Down East was the most passionate of Griffish’s many paeans of praise for the Christian home; on this score, at least, he could have satisfied Harriet Beecher Stowe.” — Literary and film critic Edward Wagenknecht. [16]
Later, in 2007, in his comparison of this production to other works by Griffith, film reviewer Paul Brenner judged it to be one of the director's better, less "preachy" screen presentations:
Many of Griffith's features suffer from sententious moralizing, a sense of God speaking to the masses, and outright racism. But Way Down East highlights the greatness of Griffith without having to sit through the Sermon on the Mount or the Ride of The Klan. In Way Down East, Griffith's psychotic nuttiness, for once, didn't get in the way of a good film. [5]
Richard Semler Barthelmess was an American film actor, principally of the Hollywood silent era. He starred opposite Lillian Gish in D. W. Griffith's Broken Blossoms (1919) and Way Down East (1920) and was among the founders of the Academy of Motion Picture Arts and Sciences in 1927. The following year, he was nominated for the Academy Award for Best Actor for two films: The Patent Leather Kid and The Noose.
Broken Blossoms or The Yellow Man and the Girl, often referred to simply as Broken Blossoms, is a 1919 American silent drama film directed by D. W. Griffith. It was distributed by United Artists and premiered on May 13, 1919. It stars Lillian Gish, Richard Barthelmess, and Donald Crisp, and tells the story of young girl, Lucy Burrows, who is abused by her alcoholic prizefighting father, Battling Burrows, and meets Cheng Huan, a kind-hearted Chinese man who falls in love with her. It was the first film distributed by United Artists. It is based on Thomas Burke's short story "The Chink and the Child" from the 1916 collection Limehouse Nights. In 1996, Broken Blossoms was included in the annual selection of 25 motion pictures to be added to the National Film Registry of the Library of Congress.
Lillian Diana Gish was an American actress. Her film-acting career spanned 75 years, from 1912, in silent film shorts, to 1987. Gish was called the "First Lady of American Cinema", and is credited with pioneering fundamental film performance techniques. In 1999, the American Film Institute ranked Gish as the 17th-greatest female movie star of Classic Hollywood cinema.
Dorothy Elizabeth Gish was an American stage and screen actress. Dorothy and her older sister Lillian Gish were major movie stars of the silent era. Dorothy also had great success on the stage, and was inducted into the American Theater Hall of Fame. Dorothy Gish was noted as a fine comedian, and many of her films were comedies.
Sarah Blanche Sweet was an American silent film actress who began her career in the early days of the motion picture film industry.
Robert Emmett Harron was an American motion picture actor of the early silent film era. Although he acted in over 200 films, he is possibly best recalled for his roles in the D.W. Griffith directed films The Birth of a Nation (1915) and Intolerance (1916).
Carol Dempster was an American film actress of the silent film era. She appeared in films from 1916 to 1926, working with D. W. Griffith extensively.
Orphans of the Storm is a 1921 American silent drama film by D. W. Griffith set in late-18th-century France, before and during the French Revolution.
The Painted Lady is a 1912 American short drama film directed by D. W. Griffith and starring Blanche Sweet. A print of the film survives.
The Greatest Thing in Life is a 1918 American silent drama film about World War I, directed by D. W. Griffith and starring Lillian Gish, Robert Harron, and David Butler. The film is now considered lost as no prints are known to exist.
True Heart Susie is a 1919 American drama film directed by D. W. Griffith and starring Lillian Gish. A print of the film survives in the film archive of the British Film Institute. The film has seen several VHS releases as well as a DVD issue.
Romola is a 1924 American silent drama film directed by Henry King and shot on location in Italy. The film stars Lillian Gish, Dorothy Gish, William Powell, and Ronald Colman, and is based on the 1863 George Eliot novel of the same name.
Charlotte Blair Parker was an American playwright and actress in the late 19th and early 20th centuries. She began her theatrical career as an actress, eventually playing opposite John Edward McCullough, Mary Anderson, and Dion Boucicault. Writing under the pen name Lottie Blair Parker, she wrote about a dozen produced plays but is remembered most for three popular stage plays produced between 1897 and 1906: Way Down East, Under Southern Skies and The Redemption of David Corson. Of the three, Way Down East, produced in 1898, was the most successful, proving to be one of the most popular American plays of its time, steadily performed for two decades.
Clarine E. Seymour was an American silent film actress.
The Idol Dancer is a 1920 American silent South Seas drama film produced and directed by D. W. Griffith. It stars Richard Barthelmess and Clarine Seymour in her final film role. Seymour was a young actress Griffith was grooming for stardom. She died of pneumonia shortly after emergency surgery for an intestinal blockage on April 24, 1920, less than a month after the film premiered.
Mary Hay Caldwell was an American dancer, musical comedy and silent screen actress, playwright, and former Ziegfeld girl.
Peppy Polly is a lost 1919 American silent drama film directed by Elmer Clifton and starring Dorothy Gish. D. W. Griffith produced, as he did for several of Gish's films.
Way Down East is a 1935 American romantic drama film directed by Henry King and starring Rochelle Hudson, Henry Fonda, Slim Summerville, Margaret Hamilton, Andy Devine and Spring Byington. It was released by 20th Century Fox and produced by Fox Film Corporation.
Anna Karenina is a 1920 German silent historical film, directed by Frederic Zelnik and starring Lya Mara, Johannes Riemann, and Heinrich Peer. It is an adaptation of Leo Tolstoy's 1877 novel Anna Karenina. It premiered at the Marmorhaus in Berlin.