IMDb-BEWERTUNG
6,8/10
598
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuA young woman becomes a nun when she believes her sweetheart has been killed, then things get complicated when he returns alive.A young woman becomes a nun when she believes her sweetheart has been killed, then things get complicated when he returns alive.A young woman becomes a nun when she believes her sweetheart has been killed, then things get complicated when he returns alive.
- Auszeichnungen
- 2 Gewinne & 1 Nominierung insgesamt
Gustavo Serena
- Prof. Ugo Severi
- (as Signor Serena)
Ida Carloni Talli
- Mother Superior
- (as Carloni Talli)
Empfohlene Bewertungen
Exciting story of two lovers of war torn Italy. Lillian Gish plays the daughter of a Prince whose sister hates her. Ronald Colman plays an army officer whose brother is a Professer determined to discover the secret of the volcano the town rests upon. When Lillian's father is killed when he falls off his horse her sister inherits everything, banishing Lillian from the palace. Ronald goes on an expedition to Africa only after Lillian promises to marry him when he return and is supposedly killed. This movie starts off a bit slow but then picks up rapidly. An excellent movie which I'd highly recommend to all silent movie buffs or Lillian Gish and Ronald Colman fans.
This commendable silent has now apparently been restored by Turner and is available for sale - though not as yet for Netflix rental, so I can't comment on the image quality. Even given the less-than-luminous print I saw some years ago, the film deserves to be seen. Lillian Gish is brilliant. And Ronald Colman gives an emotionally charged, subtle performance unlike anything else I've seen of his work in film. The story is not to my taste: it is old-fashioned, sentimental melodrama, heavily laced with Catholic religious fervor. The real attractions, besides these two glorious stars, are the wonderful Italian locations, and - presumably - some beautiful black and white photography.
Assisted by luminous photography and Henry King's sympathetic direction, Lillian Gish delivers a most compelling performance in this lavish production, filmed entirely in Italy. True, she has excellent support from subdued yet charming Ronald Colman, chillingly malevolent Gail Kane, J. Barney Sherry and others, but it's Miss Gish's movie and she makes the most of it.
Camera-wise, King's direction is very static, but nonetheless engaging. He not only has an eye for the pictorial values of his sets and locations, but adroitly maintains audience interest at a high level through the various predictable turns of the plot, although the long-awaited climax proves somewhat disappointing and lacks spectacle.
Camera-wise, King's direction is very static, but nonetheless engaging. He not only has an eye for the pictorial values of his sets and locations, but adroitly maintains audience interest at a high level through the various predictable turns of the plot, although the long-awaited climax proves somewhat disappointing and lacks spectacle.
White Sister, The (1923)
*** (out of 4)
Adaptation of the Francis Marion Crawford novel, this screen version has Lillian Gish playing Angela Chiaromonte, the woman who gets cut out of her rightful inheritance by her evil step sister (Gail Kane). She then suffers a second heartache when the man she loves (Ronald Colman) is reported dead. With nowhere else to turn she decides to become a nun since they were the ones who saved her from the streets but soon the man she loved comes back but can she break her vow to God to take him back? This is a very handsome production of a novel that was filmed quite a few times including a remake ten years later with Clark Gable. This version is certainly very easy on the eyes and it features some very good performances but clocking it at nearly 140-minutes, the running time certainly doesn't do it any favors. The biggest problem is the running time as many scenes just seem to go on and on and on when they could have been cut down and it probably would have made the film float a lot better. Just take a look at the first thirty-minutes and everything that happens could have been told just as well with about ten or more minutes cut down. With that said, the film is still worth viewing for several reasons with the performances being one. Gish does her usual great job and really digs deep into this character and brings it to life as someone we really do care for and feel sorry for. As expected, we have some wonderful close ups of Gish's brilliant eyes that have no problem showing her sadness. Also, Gish is given another sequence where they were clearly trying to recapture the "terror" sequence from BROKEN BLOSSOMS but it doesn't work nearly as well here. The scene involves her learning that the man she loves is dead. Colman, in his screen debut, turns in a very good performance as well as he too really delivers in terms of the character's emotions and the pain he's going through as the woman he loves might not be able to love him. The direction by King is very good throughout and especially towards the end when the climax features a large volcano erupting and causing major panic in the streets. Fans of Gish and silent films will certainly want to check this out but I'm sure others will probably be bothered by the long running time. I know some versions are out there running nearly forty-minutes shorter and I actually checked a bootleg I had bought before watching the restored version on TCM and it actually only runs 66-minutes!!! One day I might try watching that version just to see how the film plays with more than fifty-percent of its time missing.
*** (out of 4)
Adaptation of the Francis Marion Crawford novel, this screen version has Lillian Gish playing Angela Chiaromonte, the woman who gets cut out of her rightful inheritance by her evil step sister (Gail Kane). She then suffers a second heartache when the man she loves (Ronald Colman) is reported dead. With nowhere else to turn she decides to become a nun since they were the ones who saved her from the streets but soon the man she loved comes back but can she break her vow to God to take him back? This is a very handsome production of a novel that was filmed quite a few times including a remake ten years later with Clark Gable. This version is certainly very easy on the eyes and it features some very good performances but clocking it at nearly 140-minutes, the running time certainly doesn't do it any favors. The biggest problem is the running time as many scenes just seem to go on and on and on when they could have been cut down and it probably would have made the film float a lot better. Just take a look at the first thirty-minutes and everything that happens could have been told just as well with about ten or more minutes cut down. With that said, the film is still worth viewing for several reasons with the performances being one. Gish does her usual great job and really digs deep into this character and brings it to life as someone we really do care for and feel sorry for. As expected, we have some wonderful close ups of Gish's brilliant eyes that have no problem showing her sadness. Also, Gish is given another sequence where they were clearly trying to recapture the "terror" sequence from BROKEN BLOSSOMS but it doesn't work nearly as well here. The scene involves her learning that the man she loves is dead. Colman, in his screen debut, turns in a very good performance as well as he too really delivers in terms of the character's emotions and the pain he's going through as the woman he loves might not be able to love him. The direction by King is very good throughout and especially towards the end when the climax features a large volcano erupting and causing major panic in the streets. Fans of Gish and silent films will certainly want to check this out but I'm sure others will probably be bothered by the long running time. I know some versions are out there running nearly forty-minutes shorter and I actually checked a bootleg I had bought before watching the restored version on TCM and it actually only runs 66-minutes!!! One day I might try watching that version just to see how the film plays with more than fifty-percent of its time missing.
Have for a long time had a very high appreciation for silent film, short and feature. DW Griffith favourite Lillian Gish was among the finest silent film stars and one of the few who translated well into talkies (see for example 'The Whales of August' at the end of her life). Ronald Colman did some great work in his career and it was interesting to see him in a silent film and so young. Have also liked some of Henry King's other work, with 'The Song of Bernadette' becoming an instant favourite on first watch four or so years ago.
'The White Sister' is a very interesting and well crafted film with a lot of excellently executed elements. Colman and King went on to do better, though it is one of King's better and more interesting early films and forays in silents, but Gish shows that she could work brilliantly with directors other than Griffith. The subject matter was a bold one for back then and it was unusual for any film to tackle religion against a contemporary background, which is done very well actually in 'The White Sister'.
It's not perfect. It for my tastes a little too on the overlong side, which made for some stodgy over-stretched pacing here and there.
Did also find it melodramatic, with some of the support acting being theatrical. Some of the camera work is on the static side.
Most of it however is beautifully framed and elegant and makes the most of the atmospheric and never cheap backdrops. King directs with a very confident hand and there was never a sense of him being out of his depth or not knowing what he was doing. 'The White Sister' is thought provoking, often very moving and the religious element of the story doesn't preach surprisingly and is as bold as it sounds.
Gish is wonderful in a very expressive and nuanced performance that touched me deeply, she indeed did suffering better than a vast majority of silent film stars and to me she was one of the best. The role was the kind that could easily have been overacted, but Gish doesn't. Despite being robbed of his beautiful speaking voice, Colman shows even early in his career that he could do aristocratic suavity beautifully. The two smolder together.
Overall, liked it a good deal while not being in total love with it. 7/10.
'The White Sister' is a very interesting and well crafted film with a lot of excellently executed elements. Colman and King went on to do better, though it is one of King's better and more interesting early films and forays in silents, but Gish shows that she could work brilliantly with directors other than Griffith. The subject matter was a bold one for back then and it was unusual for any film to tackle religion against a contemporary background, which is done very well actually in 'The White Sister'.
It's not perfect. It for my tastes a little too on the overlong side, which made for some stodgy over-stretched pacing here and there.
Did also find it melodramatic, with some of the support acting being theatrical. Some of the camera work is on the static side.
Most of it however is beautifully framed and elegant and makes the most of the atmospheric and never cheap backdrops. King directs with a very confident hand and there was never a sense of him being out of his depth or not knowing what he was doing. 'The White Sister' is thought provoking, often very moving and the religious element of the story doesn't preach surprisingly and is as bold as it sounds.
Gish is wonderful in a very expressive and nuanced performance that touched me deeply, she indeed did suffering better than a vast majority of silent film stars and to me she was one of the best. The role was the kind that could easily have been overacted, but Gish doesn't. Despite being robbed of his beautiful speaking voice, Colman shows even early in his career that he could do aristocratic suavity beautifully. The two smolder together.
Overall, liked it a good deal while not being in total love with it. 7/10.
Wusstest du schon
- WissenswertesThough Ronald Colman had done theatre plays and already appeared in two minor films in England, in 1920 set out for New York in hopes of finding greater fortune there than in war-depressed England. After two years of impoverishment, he was cast in a Broadway hit, "La Tendress", in which film director Henry King spotted him and cast him as Lillian Gish's leading man in this film. His success in the movie led to a contract with Samuel Goldwyn, and his career as a Hollywood leading man was underway. He quickly became a romantic lead and especially thrived in the sound era with his beautiful speaking voice. A decade later, under George Cukor's direction, he received an Academy Award® for his splendid portrayal of a tormented actor in Mord in Ekstase (1947).
- Zitate
Angela Chiaromonte: Death was jealous of me.
- VerbindungenReferenced in Bilder in Bewegung - Das Jahrhundert des Kinos: Die Nacht der Regisseure (1995)
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- The White Sister
- Drehorte
- Algerien(desert scenes)
- Produktionsfirma
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- Bruttoertrag in den USA und Kanada
- 657.532 $
- Laufzeit2 Stunden 23 Minuten
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- Seitenverhältnis
- 1.33 : 1
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By what name was Die weiße Schwester (1923) officially released in India in English?
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