Mimi

Rodolphe (John Gilbert) is a wouldbe playwright struggling for that final bit of inspiration that will lead him to greatness. Mimi (Lillian Gish) is his upstairs neighbor, a seamstress and embroidery expert who works herself to the breaking point. Along with various painters, musicians and other poets, they all struggle to make ends meet until they finally have the success they all crave

The most famous bit of this one is the very ending, but I won't risk spoiling things, only to say that it's milked for all that it's worth. Gilbert looks even more like John Barrymore here, with his tousled hair and piercing eyes. Gish is her usual waifish, saintly self, although she was reportedly anything but offscreen during the making of this, her personal "love letter" to her European fans. I thought the film to be merely decent, with nothing beyond the ending to really recommend it.

It's difficult to imagine what going to the movies was like during the Silent Era. With no soundtracks, and a person in the theater simply accompanying the on-screen action on piano, dramas of the day must have suffered somewhat. But not 'La Boheme'.

As this wonderfully engaging tale of struggling actors and writers in France unfolds, it has a quality to its story telling that would have diminished had it been a talkie. Once you see the frail and beautiful (and quite haunting) Lillian Gish in her key scenes, you will never forget her.

Grab a few hankies and enjoy this singular silent screen treat!

No one else but Lillian Gish would have starved herself for three days to make the final scene, and no one else would have done it so effectively. Would a modern actress have allowed herself to be dragged physically across the cobblestone streets?

In 19th century Bohemia, artistic residents in the "Latin Quarter" of Paris suffer and starve. Lillian Gish (as Mimi) is a seamstress who can't pay the rent. John Gilbert (as Rodolphe) is an playwright with money problems of his own. Gilbert has been watching Gish, who lives in the neighboring attic apartment; he is taken by her innocent waif-like beauty. On the first of the month, neither Ms. Gish nor Mr. Gilbert are able to pay the rent, when the landlord visits. Gilbert, his roommates, and friends get some cash together; but Gish, a loner, is evicted. As Gish is preparing to leave the building, Gilbert and friends rescue her from street life. Then, Gish and Gilbert fall in love.

The film is most notable for its outstanding pairing of stars Gish and Gilbert, under the star direction of King Vidor. Mr. Vidor is strangely subdued by the period, and settings; but, his Paris street scenes are terrific. The meeting of Gish and lecherous Roy D'Arcy (as Vicomte Paul) is striking; and, Gish's tubercular crawl through the streets of Paris is most especially stunning.

The lovers of "La Bohème" face poverty and misunderstanding; but, mainly, it's Gish's "Mimi" making sacrifices for Gilbert's "Rodolphe". Gish's performance is indescribable. According to Vidor and co-workers, she may have put her life in danger to make the film's ending most realistic; and, it shows. Gilbert is in fine form, and characterization; according to Gish, he proposed during film-making. Renée Adorée (as Musette) and Karl Dane (as Benoit) standout among the oddly more well-fed Bohemians.

King Vidor directing Lillian Gish and John Gilbert in a prestigious M-G-M production is, of course, well worth seeing; but, the sum of their efforts do not produce the portended masterpiece. Gish's performance seems too outer-worldly for the rest of the cast; and, the story is unworthy. Cinematographer Hendrik Sartov contributes to some beautiful imagery; although, his soft focus lens, on Gish close-ups, is distracting during the early scenes. Happily, Gish, and photographer Sartov, returned to balanced perfection, in "The Scarlet Letter" (1926).

******** La Boheme (2/24/26) King Vidor ~ Lillian Gish, John Gilbert, Renee Adoree, Roy D'Arcy

Lillian Gish is the main reason to watch this film, as the subtlety and range of her expressiveness is on full display here. She is simply magnificent. The film shows signs of creakiness and yet still carries an emotional impact, though I have to say, director King Vidor elongates things as he tries to wring every last ounce of pathos out of it. The film is also hampered by being silent, when you consider how powerful the music from Puccini's opera is.

Gish and John Gilbert were huge stars when this film was made, Gish especially, and there are moments when they light up the screen. My favorite is when they're out on a picnic and she dances about while he chases her. Look for the moment when he catches her, then holds her hands from behind and whispers something in her ear; her look of surprise changing to a backward glance as her body sways forward is wonderful. It's in these types of scenes and when the Vidor puts Gish's face in a tight shot that the film is at its best, and for them, it's worth watching.