In this episode of the Sound Barrier, Silent London’s cinematic sommeliers pair Victor Sjostrom’s majestic The Wind (1928) with William Oldroyd’s astonishing debut feature Lady Macbeth, out in cinemas now. We highly recommend both films, which feature isolated women doing battle with the elements, and come laced with sex, violence and vengeance.
In the studio, I am joined as ever by Peter Baran, and also by special guest Ewan Munro, who reviews films at Filmcentric.
The Silent London Podcast is also available on iTunes and Stitcher. If you like what you hear, please subscribe and leave a rating or review too. The podcast is presented in association with SOAS radio by Peter Baran and Pamela Hutchinson.
It was a great honour for me to be asked to speak on the opening night of the Toronto silent film festival recently. It’s just a pity that geography was against us. But the speech was recorded ahead of time, and looked very smart, thanks to a colleague in the multimedia department at the Guardian generously helping me out – Andy Gallagher shot, produced, edited and did absolutely everything except sit on that blue chair.
You will probably be able to spot that it’s my first stab at presenting something like this, but it’s on the topic of silent film intertitles, which I am very enthusiastic about – the too-often unsung heroes of silent cinema. I hope you enjoy it.
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.