This is a guest post for Silent London by Kelly Robinson. If you haven’t seen The Wind, be warned that this article discusses the ending of the film.
Ethereal, delicate, poetic, otherworldly are just some of the somewhat elusive adjectives used to describe Lillian Gish since the early years of her stardom. Effusive admirer Vachel Lindsay said “Lillian Gish could be given wings and a wand if she only had directors and scenario writers who believed in fairies.” However, in reality Gish had her feet firmly on the ground. She had a career spanning eight decades, was a spokeswoman for cinema’s history with high artistic ambitions for herself and for the medium. King Vidor, who directed her in La Boheme (1926) commented: “The movies have never known a more dedicated artist than Lillian Gish.”
In his autobiography A Tree is a Tree Vidor said that Gish was incredibly assertive and had her own thoughts about the filmmaking process. Indeed, she knew a great deal about cinematography and in particular lighting. She had learned her trade during the more collaborative process of the silent era, where she had received extensive tutelage from DW Griffith in a production context where actors frequently worked without scripts and where they were encouraged to collaborate on characterisation and staging. She may only have had had a small acting role in Griffith’s Intolerance (1916), however she designed and furnished sets, helped with lighting and cutting, wrote intertitles and advertising copy.