Mädchenlos

WAY DOWN EAST was an old-fashioned melodrama even in 1920 when D.W. Griffith decided to film it. It's the kind of story that leaves itself open for spoofing, but Griffith approaches the story of a "mock marriage" and its aftermath with earnestness and a great eye for detail.

Aiding Griffith in bringing this story to life are three great stars: Lillian Gish as Anna, Richard Barthelmess as David, and Lowell Sherman as caddish Lennox. The supporting cast includes New England "types" that almost parody Dickens. Kate Bruce is the staunch mother, Creighton Hale the ditzy professor, Vivia Ogden the town gossip, Burr McIntosh the intolerant squire, Emily Fitzroy runs the hotel, etc.

The story of love, betrayal, tolerance, and redemption is slow moving and has (as usual in a Griffith film) subplots, but like the very river, all the actions and events slowly come together for the finale that left 1920 audiences in a frenzy. Indeed the ending is among the most famous in all silent films.

Gish is quite beautiful here. In her opening scene she is in her parlor with her mother making a broom, holding up the straw so that we see only her white cap and large expressive eyes. She's stunning. As Anna she goes through the gamut of shy maiden, young lover, wronged woman, timid servant, and town jezebel. Barthelmess is solid as the young and innocent David who falls in love with the servant girl.

Their final scenes in the blizzard (filmed on Long Island in a real storm) on the icy river (filmed in White River Junction, VT) are totally amazing. And they did not use stunt doubles. As Gish lies exhausted on the piece of ice she may or may not know that it's heading for the falls. There are scenes were her hand and hair trail in the icy river. Just amazing. Barthelmess uses the breaking ice as a trail so that he can reach Gish before it's too late. There are several shots where he falls off the ice or the ice breaks under him and he plunges into that wintry river. The entire sequence is as thrilling today as it was in 1920.

Gish once wrote that her long hair froze solid from being in the river water and snapped off with the ice.

WAY DOWN EAST is a great film.

This is one of my favourite silents. You can really sympathize with Lillian's character -- in fact, some of the themes are still relevant today such as the sexual double standard women face. Squire Bartlett was giving Lillian a hard time because he knew nothing of her family background when she came to him to find employment -- yet, had it been a man, the Squire would respect the man's right to privacy regarding his private life.

Lillian's acting is great. To me the true judgement of a silent film's effectiveness is the ability to stir up emotions in viewers just by watching the actor's face and body movements. Lillian achieves this beautifully. I think if this were a talkie the effect would have been less.

Overall, this is a great film but a bit long in some parts. For example, that Perkins woman (with the ringlets) was quite annoying and the film sometimes focused a little too much on her antics. I give it a 9 out of 10.

This enormously successful film lives up to its legendary reputation. But it's also disappointing.

The atmospheric splendor of the cinematography and the melancholy mood set by the original musical score (on the Kino Video release) lull the viewer into the sense of reverie essential to appreciating this charming representation of countrified America facing the encroachment of big city evils.

The story is well-told by director D.W. Griffith, and the moral message of Woman's spiritual virtuosity is exploited without the sermonizing of some of his other pictures. There is a sensitivity and naturalness exhibited in the unfolding narrative of Way Down East and a graceful style seen in none of his other epic-scale ventures. In bringing the sweetness of his famous one-reelers to a major feature film, Griffith captured an almost magical tone and ambiance that distinguishes Way Down East as a masterful piece of intimate storytelling, rivaling Broken Blossoms (1919) in its intensity and sheer beauty.

However, it must be said that Griffith's sideline excesses in plot development are many and varied, hindering the progression of the central tale of Anna Moore's struggle to escape her past and search out a new life. Annoying bits of slapstick humor, totally at odds with the romance and tragedy of the main story, are indulged in while overly sentimental touches, like long, wistful close-ups, are equally aggravating.

Though otherwise superbly acted by Lillian Gish (Anna), her role is marred by the fact that some of her more emotional scenes are unnecessarily drawn out by Griffith. This is particularly true in the sequence of the death of Anna's illegitimate newborn.

Richard Barthelmess, as David Bartlett, Anna's sweetheart and savior, is outstandingly effective, as is Lowell Sherman as the decadent cad Lennox Sanderson who deceives Anna. Not all of the supporting cast was as competent or convincing, due largely to out-of-place comedic impersonations.

One huge stand out is Mary Hay who leaps onto the screen with a refreshing vivacity. The wit she imparts to her small role is the only really clever humor in the movie.

Long-forgotten today, but much discussed at the time, was the cameo appearance in the movie's prologue of popular New York society girl Mrs. Morgan Belmont, who played Diana Tremont, one of Anna's snooty Boston cousins. To do justice to her part, as well as to form an exciting contrast to the pastoral images to follow, Griffith went all out in the costume department, hiring top fashion designer Lucile (Lady Duff Gordon) to design glitzy gowns for the garden party and ball scenes.

Despite some errors in continuity, Way Down East's celebrated climax of Anna's rescue from an ice-flow as it drifts toward a roaring waterfall, is perfectly paced and as thrilling as it must have been to audiences in 1920. Considering the limited special effects of the day, the scenes are amazingly realistic. Gish lying unconscious on an ice cake as it zooms to destruction, her arm trailing in the current, is one of the most familiar silent film shots, even to people who know next to nothing about the genre, and although it has become almost cliché, its power is undiminished.

As a story, Way Down East is both fabulous and frustrating but its photographic beauty and emotional resonance are almost unparalleled in the Griffith oeuvre.

"Way Down East" will probably be a hard pill for many filmgoers to swallow, as it's a silent and very long, but I would recommend you give it a try, as it's also pretty entertaining.

Lillian Gish gets put through her melodramatic paces by the granddaddy of modern cinema, D.W. Griffith. Griffith was a master at building his movies up to intolerably exciting finales, and this film is no exception. A classic set piece puts Gish trying to escape across a frozen river, jumping from one drifting block of ice to the next. And consider that this was in the day before special effects, and it's even quite possible that Gish did all of the stunts herself.

A slice of early cinema that goes down easily if you give it the chance.

Grade: A-

DW Griffith's ideal was that dreams can come true or should be shown to, and that cinema should work to that effect. He carried all the other Victorian values with him, the edifying fable, usually a big sappy story, grandiose love, austere morals, the struggle against forces of darkness. These are old and mouldy relics now, and must have even seemed so at the time to young more radical cineastes abroad.

But he was our first master of technique and many learned from him, Abel Gance in France, Sjostrom in Sweden, of course Chaplin, Kuleshov and his film workshop. Here he perfects the business with layers he was still struggling with in Intolerance.

Intolerance always cut back and forth to very concrete moments in time, every intertitle announcing so in advance, as a result we got forced, simple metaphysics. Simple physics in fact, exhaustively so. You did not have to do any work, merely be swept as part of one or the other mob. It was clean linear history, movement in one direction.

I want to direct your attention to two instances here. One is where we have just followed another segment of the misadventures of the naive country girl betrayed by the rich playboy, the film suddenly cuts away to the handsome country boy - her true love interest we presume - being jostled awake in bed as though from a bad dream and himself the dreamer of our story. This has saturated so ubiquitously in film culture, it is now considered in bad taste to signify a dream scene in this way.

The other is the awesomely mounted ice-breaker finale, impressive for just the selection of cascading imagery but now parting to reveal soul, the whole fabric of the world being torn beneath the feet of our heroine to reveal a liquid universe below, stories written in waters and swept away and forgotten. In all the years of film since then we have only managed to invent a third layer on top of Griffith's two, adding in the equation the veracity of the author supplying the fabric and imagery, and have mostly spent that time transferring the whole more directly to the eye and perfecting links and arrangements.

More erudite filmmakers would envision complex worlds with more clarity, but as far as nuts and bolts film mechanics are concerned a lot of it is patented here.