True Heart Susie

Both major stars in 1919, this bucolic tale by D.W. Griffith was old-fashioned even when it was made, but its simple charms and top stars make it worth a look. The girl loves the boy, helps him thru college without his knowledge, but he marries another. But because she has a true heart, she prevails. Gish has a few nice scenes, and Harron is good as the confused boy. Clarine Seymour is good as the bad girl (powder and paint!). Not much action but the scenes carry you along and Gish is watchable in anything. Harron was exceptional in Intolerance a few years earlier, and died soon after this film (gun shot wounds)as did Clarine Seymour--both in 1920!. Kate Bruce, Loyola O'Connor, and Carold Dempster co-star.

First, let's understand what kind of film this is. It is a movie about old fashioned values and the people who held them. You will not see much action, sex or blood in this film. It is silent, not of the best quality (it is old) and in black and white. However, if none of that bothers you particularly, you will find that it is a sincere film, exciting in its own way, and one that rings deep and true in a way that films seldom do.

The acting is particularly good. One reviewer here said to watch it for the stars, and that is certainly a good reason to watch it. Bobby Harron, does a wonderful job of playing a sincere and naive young man who is fooled by a week and superficial woman. He has an extremely sensitive face and when you look at him you seem to be able to see into his very soul.

Lillian Gish plays the shy, plain and simple girl who loves him. In her scenes with Harron, they had a chemistry which fills the screen. She starts out as plain girl, but about half way through the film she starts to look pretty. It is a gradual transformation and she pulls it off remarkably well, gradually accenting her better features and holding her body more gracefully. She also seems to grow as a person in the film. She starts out as an awkward child living in a fantasy world where she imagines that she is loved more than she actually is. As the film progresses, she learns to face reality, to learn how to look pretty and act gracefully without changing who she is. None of this is accomplished in any great dramatic way. It is accomplished the way these things are often done in real life, quietly, by small incidents which are important to the person but not that important to anyone else. But when these incidents occur, you see a slight physical change on the surface, but somehow she also shows you a dramatic change deep inside her whole being. How she accomplishes this is a mystery to me and one of the miracles of acting.

At one time Lillian remarked that "Virgins are the hardest roles to play. those dear little girls - to make them interesting takes great vitality, but a fallen woman or a vamp!-75 per cent of your work is already done." Lilian played all three, virgins, vamps and fallen women - and played them well. Here she plays perhaps her most difficult virgin. A girl who has nothing extraordinary to distinguish her except her quiet love for Robert. Well, remarkably enough, she makes the role interesting and sympathetic. I don't know an actress today who could do it.

As good a Lilian is, she nearly has the film stolen from her by Clarine Seymour who plays the the "vamp" in this film. Well, perhaps 75% of her work is already done, but she supplies the other 25% with great enthusiasm. She never makes the mistake of making her character hateful. That would make the character too one dimensional. She shows us, instead, a charming woman who is too week to resist temptation and too cowardly to tell the truth. Thus, she ruins her own life and nearly all the lives around her. You hate her for her weakness but you love her for her charm and beauty. She walks that tightrope between charm and evil perfectly.

Aside from the acting there are other things to like about this forgotten gem. The camera work by Bitzer is almost beyond belief, when you consider when it was done. He could create moods with the camera that make you think he was inside the actors thoughts.

Let us also remember the director. Griffith was a director that worked in concepts. In a film like this, where he was using his best actors and crew, he would not tell them how to play it. He would give them the concept he wanted and let them create it. If he didn't like what they did, he would go over it again and they would try again. By doing this he filled the set with the atmosphere of the film and everyone was attune to it. This shows in the film and the way the tension builds between characters as their lives play out. A palpable universe is created here.

If what Lillian said about virgins is true, the same can be said about a film that tries to portray simple, honest values. The film succeeds in doing this very well. If you enjoy this kind of film then I would seek this one out, it is really remarkable.

When I first wrote this comment, there were no commercially available copies of this film on DVD. Since then it has been issued in an excellent version. Highly recommended for film buffs and people who appreciate real things.

True, there are no big set pieces. We don't see Richard Barthelmess leaping from ice floe to ice floe, we don't see the Little Colonel ramming a Confederate battle flag down a cannon's mouth. What we see are faces: a small boy watching a church elder eat ice cream; Robert Harron, exultant at getting a scholarship; and, of course, Lilian Gish. She walks funny. Her outfits are ridiculous and True Heart Susie is, let's face it, not very bright, but she feels deeply and we feel with her.

What more, really, can you ask for in a movie? You get beautifully composed pictures, a fluid story, fine acting.... two years later Henry King would tread the same ground with TOL'ABLE David and produce a masterpiece that is not as funny and warm as this.

Minor Griffith? If so, there are few major directors besides Griffith.

Lillian Gish (as True Heart Susie) is an ordinary country girl; she is in love with typical "boy-next-door" Robert Harron (as William Roberts). The film begins with a series of seemingly silly, sentimental, and hopelessly old-fashioned observations about the relationships between men and women like "True Heart Susie" and "William Roberts". Director D.W. Griffith astutely notes, "Of course they don't know what poor simple idiots they are -- and, we, who have never been so foolish, an hardly hope to understand…"

You can tell, early on, that minister-to-be Harron is not really interested, romantically, in Gish. Harron prefers the "kind" of woman later idealized by Clarine Seymour (as Bettina). Ms. Seymour leads a fine supporting cast, as the painted and partying "other woman". Gish tries "power and stockings", but it is not in her character. When she accidentally chances upon Harron and Seymour kissing, Gish realizes circumstances are beyond her control, and Harron is lost to her -- this is followed by an incredible close-up of Gish, which defies description.

With "True Heart Susie", director Griffith and company achieve "non-epic" perfection. In its own way, the film is as "epic" as the director's "Intolerance" (1916). Ms. Gish and Mr. Harron are superb, as usual; though they are young adults, they are thoroughly convincing as opening-scene schoolchildren. The performances are almost outerworldly; especially, after Harron expresses discontent, and Gish reacts. Gish's reactions are particularly amazing; in fact, this may be her most supreme silent-era achievement, besting her own performance in the recently released "Broken Blossoms" (1919). If "Best Actress" awards were given out in 1919, Lillian Gish's "True Heart Susie" might have won over her own lead performance in "Broken Blossoms".

Truly classic.

********** True Heart Susie (6/1/19) D.W. Griffith ~ Lillian Gish, Robert Harron, Clarine Seymour, Loyola O'Connor

Charming and sentimental soap opera introduced as "The Story of a Plain Girl". Well, Susie (the so-called "plain girl", played by Lillian Gish) and William (Robert Harron) are two country teens who seem to be best pals having a small little romance as she walks home from school with him and he carves their initials on a tree - seems sweet, right? But then again, she pretty much trails behind him as they walk (like his shadow) and he pretty much pulls away as they start to kiss (bashful or just not interested - it's hard to tell). He dreams of going to college, she secretly sells her cow and other goods (after all, she "must" marry a smart man) and sends him the money under the guise that it is from a "philanthropist" they previously met in town. He comes back grown-up, with mustache - she secretly writes of plans to marry him in her diary and keeps it a secret about who his real benefactor was. But - enter one flirty Bettina: she believes in paint, powder, tight skirts, and silk stockings. Young William, now ready for marriage, unbelievably asks surprised Bettina to become his wife. Oh dear, poor Susie. But it doesn't exactly work out the way he hopes!

This is a really sweet and entertaining film - I like it a bunch. Lillian Gish is quite a bit too pretty to really seem realistic as "plain", but they manage to braid and slick down her hair in the earlier scenes, and with her shuffling along and the like, it almost works - and she's great in the part, of course. The character of Bettina is not really in the vein of "evil vamp" or anything like that - she's really just an immature young girl who likes to party and flirt and just isn't ready to settle down with a house and husband yet. Clarine Seymour, who plays Bettina, is really excellent in this film - she completely brings her character to life and even manages to make what appears to be a man-stealing home-wrecker into a sympathetic character. It is hard to forget while watching this film, the early deaths of two of the stars here, Harron and Seymour, in only a year's time. The art direction and camera-work nicely captures the rural setting and youthful faces of the stars. The Kino DVD of this film features a clear, tinted print that looks great - the music is a nicely done score by the Mont Alto orchestra featuring contemporary tunes, which completely suits this film. An emotional, absorbing, and at all times enjoyable silent film.