80 1. DW Griffith (American, 1875–1948). an Unseen Enemy. 1912. 35Mm Film

1. D. W. Griffith (American, 1875–1948). An Unseen Enemy. 1912. 35mm film (black and white, silent), 14 min. (incomplete). The Museum of Modern Art, New York. The Biograph Collection; preserved by The Museum of Modern Art with support from The Lillian Gish Trust for Film Preservation 80 Dorothy Gish and Lillian Gish LILLIAN GISH (American, 1893–1993) / JENNY HE

“A movie star since movies began,” actress Her characters—put-upon women facing ushered the sisters into a casting session Lillian Diana de Guiche was born the same tribulations from the injustices of the French for An Unseen Enemy, a one-reeler about year that Thomas Edison introduced the Revolution (Orphans), the persecution of two sisters fending off a larcenous maid motion picture to the American public.1 This Puritanical society (The Scarlet Letter), and and her safe-robbing accomplice. Impressed coincidence, however random, proved fateful the ravages of nature in the American West with their ability to respond to direction, for Gish, a defining artist of early film history. (The Wind)—endured in the face of betrayal, Griffith recast the film with the Gishes, even Known as the First Lady of the Silent Screen, rape, death, and abandonment. Often char- though he had already begun rehearsals with Gish made her most significant cinematic acterized as a waif, Gish was a dichotomy of other actresses, and began shooting Lillian’s contributions during the silent film era, but fragility and resilience. This was true of her first screen appearance the next day. the prolific actress enjoyed a career that life offscreen as well as onscreen. Fellow Gish became one of Biograph’s stock play- went five decades beyond her last silent film. female film pioneer Frances Marion knew ers and appeared in more than thirty Biograph Over a seventy-five-year career, Gish made her to be as “fragile as a steel rod.”2 films over the next two years, including sig- more than one hundred films, almost half of Gish was a woman holding her own in the nificant shorts such asThe Mothering Heart which reside in the collection of The Museum early days of Hollywood, and she amassed (1913) and The Battle at Elderbush Gulch of Modern Art, including landmark works enough clout and influence to call her own (1913). Griffith left Biograph in 1914, joined such as her first film,An Unseen Enemy (1912, shots. As a vocal proponent of film preser- several other film companies—Reliance- no. 1), and her last silent picture, The Wind vation, she made it her lifelong mission to Majestic, Triangle Film Corporation, Famous (1928, no. 2). ensure that her work and the work of all film Players-Lasky (Paramount), and United Gish spent her entire life acting—on screen, artists would survive. “Art is the most lasting Artists—then eventually built his own studio stage, and television. Her persona is one of product of a civilization,” Gish said, and “the in Mamaroneck, New York. Gish followed him, Victorian womanhood—genteel, vulnerable, only lasting aristocracy.”3 Gish contributed and under his tutelage she developed her and innocent—often reflected in Madonna- greatly to the aristocracy of her art, and her acting talents and honed her screen persona. like characters (The Mothering Heart, The legacy as an iconic figure in film history will G. W. Bitzer, the director’s longtime camera- Battle at Elderbush Gulch, Intolerance, Way also endure. man, recalled that “Griffith conditioned [Gish] Down East, The Scarlet Letter). Her heroines After debuting in a production of In Convict’s to the part she was to play, and once she had are unadulterated in both innocence and Stripes in 1902, Gish began acting in touring the action in mind, she wouldn’t forget or madness, adversity and triumph, as they troupes in New York City. Her tenure in New deviate by so much as a flicker of the eye. Her deflect wanton men hell-bent on defiling York and on Broadway led to a friendship interpretation would be as directed, without their virgin characters (The Birth of a Nation, with fellow actress Gladys Smith, who years waste of precious film.”5 Gish practiced Way Down East, Orphans of the Storm, The later would change Gish’s life through a something akin to Method acting (long Wind). Cast often in melodramas, Gish played chance meeting with film director D. W. Griffith. before the phrase was coined) and studied characters who tenaciously fought to gain Attending a nickelodeon showing of Lena dance choreography, but her ability to invent redemption after the violation of their virtue. and the Geese (1912), Gish immediately rec- on the spot, born out of in-the-moment Gish’s doe eyes, button nose, and pixie ognized the actress in the film as her old emotion, meshed perfectly with Griffith’s smile belied a charisma and passion that friend Gladys. Spurred by the star sighting, directorial style. The chemistry between materialized in front of the camera in her Gish, along with her sister, Dorothy, and their director and actress resulted in some of Gish’s performances. Adept at both comedy and mother, Mary, decided to look up her friend greatest performances, in silent cinema tragedy (often in the same film), Gish pos- by visiting the studio that filmedLena, classics such as The Birth of a Nation (1915), sessed an emotional range that could alter- American Mutoscope and Biograph Company, Intolerance (1916), Broken Blossoms (1919), nate between restrained (Broken Blossoms) located in Union Square. The visit not only and Way Down East (1920). Gish also and grand (Orphans), with everything from reconnected the Gishes with Smith (now matured professionally behind the camera. subtle facial nuances to frenzied body move- Mary Pickford) but also introduced them When Griffith was filmingThe Love Flower ments in full hysteria in her acting repertoire. to Griffith, who was immediately struck (1920) in Florida, he entrusted the care of his In all her facets she personified endurance. by Lillian’s “exquisite ethereal beauty.”4 He studio to Gish.6 He also encouraged her to

81 2. Victor Sjöström (Swedish, 1879–1960). The Wind. 1928. 35mm film (black and white, silent), 72 min. The Museum of Modern Art, New York. Acquired from MGM Lillian Gish

and enjoyed as any other one of the arts is studied and enjoyed,” with Iris Barry as its inaugural curator.11 Gish’s relationship with MoMA’s Department of Film, like her relation- ship with film itself, began at its inception. It was through Barry, in the mid-1930s, that Gish first heard of the nascent concept of film preservation.12 Inspired by Barry and her own belief in the value of film as an art form, Gish maintained frequent correspondence with the department throughout her life in their joint efforts toward film preservation. As Eileen Bowser, a former curator in the make her own feature film, stating that Gish censorship office of the Motion Picture Department of Film, noted, “Convinced of the knew as much about making pictures as he Producers and Distributors of America due power of film to change the world,” Gish was did, and more about acting.7 to outcry from church and women’s groups. a “dedicated fighter for every cause associ- Orphans of the Storm (1922, no. 3), the last Undaunted, she took it upon herself to ated with the art of the film.”13 Not only was of Gish’s collaborations with Griffith, marked secure clearance for the film. No roadblock the actress instrumental in the donation of a turning point in her career. She convinced was insurmountable for Gish if she believed scripts, films, and funds to the Museum, but Griffith to make the film, based on Adolphe in a project. For her swan song to the silent she also valued the input of its film curators, d’Ennery’s play The Two Orphans (1874)— era she chose The Wind, based on a novel with whom she discussed her projects and although he had intended his next project to by Dorothy Scarborough. The actress hand- from whom she sought advice regarding be Goethe’s Faust—and to cast her sister as picked her director (Victor Sjöström) and film preservation.14 Louise (his first choice was Mae Marsh).8 leading man (Lars Hanson) and was asked The acquisition of the D. W. Griffith During rehearsal for the climactic scene at by MGM’s Irving Thalberg to produce. Gish’s Collection—one of the first major film the guillotine, in which Gish’s Henriette seems career continued over the next sixty years— collections to enter the Film Library—might to be moments from certain death, Gish her sound work is represented in the not have occurred had it not been for Gish’s disagreed with Griffith’s direction and felt Museum’s collection by films such as Charles intervention. In the summer of 1935 Barry that the scene required a “greater depth of Laughton’s The Night of the Hunter (1955) and her husband, John Abbott (then the Film emotion.” After rehearsing the scene her way, and her last film, Lindsay Anderson’sThe Library’s director), visited Hollywood in an Gish recalled, “Without a word, he walked up Whales of August (1987)—but her legacy attempt to convince directors, actors, and to me, sank to one knee and kissed my hand was long secured by her first sixteen years studios to deposit films with the Museum. before the company. ‘Thank you,’ he said.”9 in film. When they approached Griffith, he declined. In nine short years, she had evolved from On June 25, 1935, The Museum of Modern In 1938, when D. W. Griffith, Inc., was in ingenue to Hollywood powerhouse.10 Art presented to the public its Film Library receivership and the director’s films were Gish pressured MGM to make The Scarlet (now the Department of Film), whose mission on the verge of being lost, Gish interceded Letter (1926), based on Nathaniel Hawthorne’s was “to preserve [and] exhibit . . . all types and convinced Griffith to entrust his films book, which had been blacklisted by the of films, so that the film may be studied and legacy to the Museum.

82 LILLIAN GISH 3. D. W. Griffith(American, 1875–1948). Orphans of the Storm. 1922. 35mm film (black and white, silent), 142 min. The Museum of Modern Art, New York. Acquired from the artist; preserved by The Museum of Modern Art with support from The Lillian Gish Trust for Film Preservation Lillian Gish (on scaffold)

In 1954, when actor Charles Laughton set out to make his directorial debut, he prepared for The Night of the Hunter by screening Griffith films at MoMA. An admirer of Gish since Griffith’sBroken Blossoms, Laughton sought her out for the pivotal role of Rachel Cooper—an evolution of her silent film heroines—who protects two vulnerable yet resilient orphans from a soulless preacher intent on their destruction. Richard Griffith, then curator of the Film Library, acted as an intermediary between Gish and Laughton during their discussions surrounding the film.15 From 1963 to 1980 Gish undertook an film material and preservation methods. In of Motion Picture Arts and Sciences on ambitious endeavor to tour universities, exchange, Gish took her knowledge to the November 25, 1982, the ceremony was held libraries, and museums throughout the world, public and provided the Museum’s Film at MoMA. The celebration of her devotion lecturing on the art of film, concentrating on Preservation Program with resounding and contribution to the art of the motion the period from 1900 to 1928. In preparation advocacy.16 picture took place at the institution that for these lectures, the actress engaged in con- It was fitting that when Gish became the continues to collect, preserve, study, and stant dialogue with the Museum regarding fourteenth life member of the Academy exhibit her work.

1. “Lillian Gish, 99, a Movie Star with Ann Pinchot, Lillian Gish: Scribner, A Lisa Drew Book, Committee on Government Collection, The Museum of Since Movies Began, Is Dead,” The Movies, Mr. Griffith, and 2001), p. 153. Relations, transcribed in Modern Art, New York. New York Times, March 1, 1993, Me (Englewood Cliffs, N.J.: 9. Gish, with Pinchot, Lillian Hearings Before the Sub- 16. Bowser, letter to Gish, New p. A1. Prentice-Hall, 1969), p. 35. Gish, p. 244. committee on Government York, May 11, 1972. Lillian Gish 2. Frances Marion, quoted in 5. G. W. Bitzer, quoted in 10. In 1925, after a fierce bidding Information and Individual Letters, Film Study Center Cari Beauchamp, Without Lying Charles Silver, Lillian Gish (New war to sign the actress, MGM Rights, June 19, 1979, p. 61. Collection, The Museum of Down: Frances Marion and York: The Museum of Modern placed Gish under a studio 13. Eileen Bowser, quoted in Modern Art, New York. In this the Powerful Women of Early Art, 1980), p. 5. contract that gave her script Silver, Lillian Gish, p. 3. letter Bowser provides infor- Hollywood (New York: Scribner, 6. Beauchamp, Without Lying approval. 14. Iris Barry, letter to Gish, mation about films in the A Lisa Drew Book, 1997), p. 119. Down, p. 119. 11. Mary Lea Bandy, “Nothing New York, May 18, 1950. Lillian Museum’s collection to assist 3. Lillian Gish, address to 7. Gish’s only directorial effort Sacred,” in John Elderfield, ed., Gish Letters, Film Study Center Gish in her lectures and thanks “Government and the Arts” was Remodeling Her Husband Studies in Modern Art 5: The Collection, The Museum of the actor for her support of session, Centennial Celebration (1920), a film that has been Museum of Modern Art at Mid- Modern Art, New York. MoMA’s Film Preservation of the American Institute of lost. Silver, Lillian Gish, p. 10. Century: Continuity and Change 15. Richard Griffith, wire to Program. Architects, Washington, D.C., 8. Charles Affron relates these (New York, The Museum of Charles Laughton, New York, May 15, 1957. events in Lillian Gish: Her Modern Art, 1995), p. 82. July 30, 1954. Lillian Gish 4. D. W. Griffith, quoted in Gish, Legend, Her Life (New York: 12. Gish, testimony to Letters, Film Study Center

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