The Mothering Heart

D.W. Griffith's version of the classic "American Film Tragedy" - Poor Young Couple is threatened when the man meets… The Seductress! Lillian Gish and Walter Miller are the plain, unassuming lovers; they marry, and she has a child. When they go to Town, Temptress Viola Barry spies hunky Mr. Miller, and the dye is cast. She conveniently has car trouble when he is passing by, and begins her seduction. Miller steps out on Ms. Gish, who finds an incriminating glove in Miller's pocket… and, so on...

For Griffith and company, "The Mothering Heart" is a bit of a let-down, considering the high quality of the recent "The Burglars's Dilemma" (1912) and "Death's Marathon" (1912). Though everyone works hard, the situation and club flirtation scenes are somewhat silly.

***** The Mothering Heart (6/21/13) D.W. Griffith ~ Lillian Gish, Walter Miller, Viola Barry

Do appreciate silents and also old short films. Some of the best came from DW Griffith in the 1910s. He was not one of my favourite directors, but his short and feature films are really well worth seeing (the best musts) and he was an interesting directors. Another selling point is Lillian Gish, one of the great silent film stars and really excelled in dramatic roles. Giving them a lot of poignancy without going over the top, her sister Dorothy was also incredibly talented but Lillian was a little more versatile.

'The Mothering Heart' to me is one of Griffith's best and most interesting 1910s short films, as well as one of his most poignant. 'The Mothering Heart' also has one of Gish's best early performances in my view, if anybody wants to see what the fuss is about with her her performance here is a good starting point. One can also see why it was a turning point role for her and why her career took off quite vastly after.

Gish is a revelation in a role absolutely perfect for her, she gives a very moving and warm portrayal that makes one completely root for her easily. Walter Miller is far from a drip and brings surprising complexity to a character that on paper sounded weak. Viola Barry is a scene stealer.

On top of the great performances, we also have highly effective direction from Griffith, it is always visually striking and doesn't let the momentum lag. 'The Mothering Heart' is extremely well made, especially striking is how beautifully and inventively shot it is. Far from primitive. Story is very heartfelt and easy to be charmed by, the tragedy heart-breaking.

Not all the more humorous parts gel though and like they didn't properly belong.

That one small complaint aside, this is excellent. 9/10

The story is very ordinary, but Lillian Gish is incredible as the woman who discovers her undeserving husband's infidelity.

The stereotypical acting seen in early silent movies captures performers constantly overdramatizing, even when situations in the narratives don't call for such emoting. Several reasons for this overextension of these physical dramatics include the thespian methodology of the Victorian stage. Poor acoustics in most theaters required actors to loudly verbalize as well as to show visually the patrons sitting in the back seats the drama unfolding far from them. Also, with a lack of "dialogue title cards," silent movie actors had to reflect their feelings with body language the spoken word would normally convey in real life.

D. W. Griffith changed all that. His films were moving towards the direction of actors expressing less with their bodies and more with their faces--hence, he was physically moving his camera in closer to his performers instead of remaining stationary on the standard wide shot.

In a leap forward in dramatizing his plot by showing the angst of his actress, Griffith had Lillian Gish in June 1913's "The Mothering Heart" break the mold of physicality by filming her acting in a subtle, restrained rendering of a pained wife and new mother dealing with a cheating husband, played by Walter Miller.

Not that such a performance hadn't been captured on celluloid before. But Gish's mannerisms throughout the movie reflected a new style of acting rarely seen on the screen up until then. The anguish she undergoes is visibly noticed in each step of her discovery her husband has been philandering behind her back. She suspects the relationship when he doesn't return home from work at his normal time, then finding hard evidence of a female's handkerchief in his pocket, then witnessing him getting into his mistress' car. At each step, Gish conveys via her face and body language deep hurt. As a true, strong woman, she is able to take decisive steps to counter her husband's infidelity, all the while refraining from uncontrollable gestures (except for a brief wild release of emotions at the outdoor plants) normally captured in early film of actors in similar situations.

The cinematic world took notice of Gish's performance in "The Mothering Heart," and from this point onwards, silent movie actors began to taper their excessive movements and learn how to express their innermost feelings by facial expressions.

Lillian Gish gives her greatest early performance in what is arguably the best Biograph of them all. Here, Griffith puts together all the dramatic techniques he had honed over the past couple of years, and finally seems realise what an asset he had in Gish.

For the first time Griffith really liberates his camera, dispensing with the old either/or situation of three-quarter length shots and extreme close-ups. He puts his camera exactly as far from or as close to the action as it needs to be, often using multiple set-ups in the same location. This is particularly effective in the dance-hall scenes – the large room becomes a real place because the camera really gets inside it. The introduction of the larger space makes it possible to show the flirtation between the husband and the "idle" woman in medium close-ups without it being confusing. The next logical step here would have been for Griffith to introduce the point-of-view shot, but unfortunately that was a step he never took. See Raoul Walsh's Regeneration for what is probably the earliest genuine point-of-view shot.

Ultimately however, all eyes are on Lillian Gish for her powerhouse performance. She works largely with props, facial expressions, and tiny gestures to convey a whole range of emotions. The fact that she does all this whilst barely moving, while incredible in itself, means that her scene of rage where she batters the rose bushes has all the more impact. The rest of the cast is rather unforgettable, and is made more so in comparison to Gish. Walter Miller, the husband, despite several years at Biograph and a number of lead roles, never really did anything outstanding. He is certainly competent here though, and this may be his finest hour, albeit one outshone by the glow of Miss Gish.

Griffith now had his heart set on directing a full length feature, and probably saw this and the other two-reelers he made in 1913 as warm-ups. Here, he reaches the pinnacle of poignant and dramatic expression in his Biograph shorts, and The Mothering Heart can be seen as something of a companion piece to The Battle of Elderbrush Gulch, in which he perfects the large scale action scenes he would need in his features.