Most of the questions you’ve always wanted to ask about silent film are answered here …, well some of them anyway. Check out this article by Movies, Silently! Click on Link Below:
I’ve another post here from those good people at Movies, Silently. I love these ones whereby they look at contemporary or near modern films and apply them to what it is they would have looked like if they were released in the silent era. This week they are looking at True Grit. Brilliant!
Hello and welcome back to Friday Facts. I’m currently looking through an article that was written by Lillian Gish in 1937, so here are some more extracts from the article The Birth of a Era by Lillian Gish from the State Magazine. The focus of this article was, if you remember based around the production of The Birth of a Nation and the experiences Lillian Gish had on the set with D. W. Griffith, amongst others.
“There was a standard call for rehearsal whenever there was rain or the sun disappeared, as at such times all cameras stopped, since it was before the days of artificial lights. During the rainy season there would be weeks of rehearsals, with Mr. Griffith outlining stories to be filmed far into the future. Some of them, including Faust and Joan of Arc, never reached the screen. We were rarely assigned parts, and the younger members of the company always rehearsed for the older members when the story was being developed, as all the ‘writing’ was done by Griffith as he moved groups of characters around a room.”
“When the story was ready to go before the camera, the older players who were to play the parts on the screen came forward and acted the parts they had been watching us rehearse for them. This method gave them the advantage of not being over-rehearsed, and also of watching the story quietly unfold before their eyes, giving them ideas that might have escaped had they not been kept fresh for the actual creation. It also taught the more inexperienced members what eventually would be expected of them.”
“At first I was not cast to play in The Clansman. My sister and I had been the last to join the company, and we naturally supposed, this being a big picture, that the main assignments would go to the older members. But one day while we were rehearsing the scene where the colored man picks up the northern girl gorilla-fashion, my hair, which was very blond, fell far below my waist, and Griffith, seeing the contrast in the two figures, assigned me to play Elsie Stoneman (who was to have been Mae Marsh). My sister, a child at the time, was to have played the girl of twelve, little sister to the Colonel.”
“Very often we would play episodes without knowing the complete story, or in which film Griffith was going to use them, as he shrouded his ideas in great secrecy for fear another studio would hear of them and get them on the screen first. Only Griffith knew the continuity of The Birth of a Nation in its final form. There was much anxiety, and many tears shed, over the assignment of parts, as we all wanted to prove our worth before it was too late, and with photography in its undeveloped state we knew we would be paseé by the time we reached eighteen.”
And that’s all for this week’s Friday Facts. Thank you for reading and don’t forget to check in next week for the concluding part of the article The Birth of an Era by Lillian Gish. But also, please, if you have any facts from the silent-era you want to pass onto us, let us know by contacting us on our Contacts page. Good-luck for now then!