The Scarlet Letter

There just aren't enough words to describe the beautiful performances in this film....not that words are needed, then or now. Victor Seastrom's lovingly crafted scenes provide perfect visual frames for the transcendent performances of Lillian Gish and Lars Hanson. An artistic triumph for everyone concerned, and a bittersweet reminder of what was lost with the death of the art of the silent film. (The Turner restoration is alas, also bittersweet, as prints of wildly differing quality had to be "married" in order to create a substantially complete copy of the subject. Thus, viewers move from scenes that shimmer with pristine beauty to muddy, contrasty dupes. It's a tribute to the art of all concerned however, that this is not the distracting issue it might be with a lesser film. Like any work of art, you won't notice the cracks and flaws after a while if you're paying attention as you should. It's just a shame that the entire film isn't as mint-fresh as some of its scenes.)

I love this film for everything that it is. The story, the acting, the direction, everything about it is great.

The story revolves around Hester Prynne(Lillian Gish) and her love for the Reverrend Arthur Dimmesdale(Lars Hanson). Poor Hester is marked with the 'scarlet letter' when she gives birth to her lovechild with the bishop, and the bishop suffers on his own as his heart begins to fail on account of the guilt he feels.

The orchestration of this film helps a lot because the wonderful music helps you follow the story more and bring intensity. I love Lars Hanson's performance, he has the perfect profile for love scenes.

A young mother is forced to wear THE SCARLET LETTER of adultery by her repressive society.

Nathaniel Hawthorne's classic novel is brought brilliantly to life in this excellent Silent film from MGM. Because the book was on the censored list, Lillian Gish, the era's finest actress, had to campaign vigorously with both the studio hierarchy and civic morality groups around the country to be allowed to make the film, causing her to ironically deal with the same sort of moral strictures her heroine would face in the film.

Her persistence paid off. She was able to obtain the services of director Victor Sjöström and actor Lars Hanson, both from Sweden. Sjöström instructed Miss Gish in the Scandinavian method of natural acting and he gave the film a blunt, no-nonsense look, crisp & clean, utilizing the Studio's excellent sets to the best of their advantage. Frances Marion, the most celebrated screenwriter of the day, was responsible for the literate script.

As the much harried Hester Prynne, Gish is beatific, her face radiating as if from an inner glow. She is playfully sweet as the community seamstress, wanting to cavort on the Sabbath or wear frilly clothing, only two of the actions proscribed & punishable by the Puritans' implacable rigidity. Later, with Hanson, she takes the viewer along as she delights in her new, hidden joy as he returns her love. Whether calmly standing on the scaffold to endure her shame, or fiercely protecting the unbaptized offspring of her forbidden passion, Gish never for an instant loses her grip on the pathetic character she's portraying.

Although he spoke no English, this was not a hindrance to Hanson. Playing the conflicted Rev. Arthur Dimmesdale, Boston's saintly parson, he paints the portrait of a good man literally dying of guilt, a weak man who dare not defend his wife & child. Hanson's face reflects his agony, his left hand twitching at his own breast where his secret symbol of shame is hidden. With Gish unobtainable in this world, he moves steadily towards the inevitable, and deeply poignant, conclusion.

Henry B. Walthall, Miss Lillian's costar in Griffith's THE BIRTH OF A NATION (1915), has the supporting role of a mysterious stranger whose arrival in Boston foreshadows a dire denouement for the wretched lovers.

Also in the cast are Karl Dane who acts out the viewers' dismay at the solemnity of the Puritans, most especially in the person of vindictive gossip Marcelle Corday; there is no love lost between this pair. Movie mavens will recognize diminutive Polly Moran & dour Nora Cecil as rigid Puritan matrons, both uncredited.

MGM's 1926 adaption of Nathaniel Hawthorne's "The Scarlet Letter" is, quite possibly, the best motion picture to have been released in the silent screen era's latter days. It can, undoubtedly, be looked upon as the best that two of that era's best actors-Lillian Gish & Lars Hanson-were paired up in. And, too, one very talented child actress, by the name of Joyce Coads, deserves to be given big credit. (She made only 10 more films before taking a final bow from the limelight; in her 2nd to last-"Devotion" 1931-she didn't get billing.) "The Scarlet Letter" should also be noted as, perhaps, the very best that Victor Seastrom- whom Charlie Chaplain had called "the best director in all the world" ever delivered. Just don't make the mistake of seeing this film as a good adaption of Hawthorne's novel. Because it's not. The film is a total of an hour and 20 minutes. Had it been really true to the novel, it just might have been longer than "Gone With The Wind." (And, speaking of the wind, as fate would have it, Seastrom directed only one more film in the US, which also teamed up Gish and Hanson: namely, "The Wind" (1928). MGM gave Seastrom his walking papers because he'd refused to give "The Wind" a happy ending. "The Scarlet Letter" of 1926 should also be seen by anyone who just might be under the mistaken impression that silent films can't leave a lasting impression.

After years of desperately wanting to see this movie I finally got hold of a copy of it. I put the DVD in the machine and waited with baited breath, was the film going to be as wonderful as the other commenters(?)had rated it? was it going to be anywhere near as good as the other Gish/Hanson/Seastrom collaboration "The Wind"? Well, the answer was that it was everything I hoped for and more. The version I saw a recording of TCM's restoration so the quality of the print veered from superb to not quite so good, but, in all honesty that did not matter as I soon got caught up in the story of Hester Prynne and the Rev. Dimmesdale. The acting was superb by all the cast, the direction was excellent and the whole setting of the movie was outstanding. It still amazes me who there are those who will not watch a silent movie, are you crazy? This version is a million miles better than the Demi Moore/Gary Oldman version made 70 years later, the chemistry between Gish and Hanson is perfect, the child actress Joyce Coad who plays Pearl, the love child, is delightful and Henry Walthall is menacing as Roger Chillingworth, Karl Dane also deserves mentioning as Master Giles in a slightly comedic role. The only downside to the movie and it had nothing to do with the movie itself was that I bought it from a guy who contacted me via IMDb and led me to believe it was his own print, I paid $52 for a TV recording off TCM. He is contacting people concerning vintage movies so beware if someone offers to get a print of that vintage movie you want to see.