Les baleines du mois d'août

"Can one live beyond one's time?" ponders the 93 year old Sarah (Lillian Gish). This summarises one of the key themes in Lindsay Anderson's moving drama The Whales of August, which focuses on the relationship between sisters Sarah and Libby (Bette Davis). Spending the summer in their vacation house in Maine, the two are approaching the end of their lives. Sarah keeps herself busy doing household choirs and looking after her near-blind sister, as she awaits the yearly arrival of the whales who swim close to the shore. While Sarah is positive and open to changes, Libby is bitter, resigned to her looming death, and opposes Sarah's ideas to install a window that would allow the moonlight to shine through the home in the evening.

There is no real plot in The Whales of August, and is instead a moving character piece that allows a quartet of wonderful actors - Vincent Price and Ann Sothern as well as the aforementioned - to flex their muscles again. With about 500 features in total behind them, it's wonderful to see these powerhouses at work. Sothern received the only Oscar nomination, but this is Gish's film (Gish shrugged off her Oscar snub by saying "oh well, at least I don't have to lose to Cher". She was one of the first Hollywood superstars, and displays the same effortless likability that made her a star with the likes of Intolerance - Love's Struggle Through the Ages (1916) and Broken Blossoms, or The Yellow Man and the Girl (1919). Post-stroke and looking extremely gaunt, Davis sadly fairs less well, and although I consider her to be possibly the greatest actress to ever grace the screen, her performance lacks any real emotion.

Beyond the performances, the film is contemplative and somewhat sad. Faded memories and old photographs are always something that affect me, and watching Sarah and Libby share anecdotes and knowing what these actresses must have lived through and experienced, I found it hard not to get choked up. It's a meditation on change and if there ever comes a time when you should simply let go and accept what's coming. It would be Gish's last film, and Davis' penultimate, and it's a fitting way for the both of them to go out. Going back to the question in the first line, the answer is yes. There is a time all actors will be cast aside by the studio system in favour of youth, deeming them no longer fit for purpose, but The Whales of August reminds us that cinema will never, ever forget.

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few great old actors. the last film of Lilian Gish. and the poetry of images. a film like a puzzle of memories. because the story is only excuse for a special meeting. so, dialogs about small pieces of life, expectation of a magic moment, old love stories and the past as axis of present, facts who are just ash circles and visits who covers an ice time. all - touching and delicate and beautiful and , in few aspects, unique. I adore the film not for itself. but for the nostalgia who represents its base. for the shadows of roles of each actor. for the force of Bette Davies who is not a surprise. for Lilian Gish and her precious career. for the charm of Vincent Price who seems be in The Whales of August the resume of his roles. for the light, for the sky, for the small gestures, for dialogs, for the flavor of bones of youth, for a love story who is dream or memory for everyone. a film of old things. that is its great virtue. maybe, that was its original purpose.

Until tonight, I had not seen this charming film since it was first released in 1987--at that time I was 30. Now I'm quite a few years older [you do the math--:)]. . .I'm not easily brought to tears, not at weddings, not at funerals, not by sad movies. But the beauty of the final moments with the Misses Davis and Gish caused me to tear up and cry like a baby. How wonderful it is to see these two ladies--plus Mr. Price and Ms. Southern--give such moving and real performances, well past the years when most people have retired and decided it was time to sit around and wait for death. If just one person of my age--or any age, older or younger--sees this film and changes a defeatist attitude, then the actors and writer have done their job.

I know my attitude is changed. . .

This is a delightful piece set on the magnificent shores of New England's Atlantic Ocean, with an absolutely unrepeatable cast. Starring not only Bette Davis and Lilian Gish, alone worth anybody's money, well advanced into the autumn of their years, but also a very welcome Vincent Price, and a magnificent Ann Sothern together with her real daughter, Tisha Sterling.

A slow sensitive story in which each one looks back on life from differing perspectives; as usual, Bette Davis is in a dominating rôle, which, despite her advanced years, carries off quite well; Lillian Gish is just superb, lending that toned-down equanimous nature of hers which pervades the whole atmosphere of the film. And as the film develops around their house and in the garden and on the cliff-tops looking out to sea in earnest attempts to see the whales making their way south, the quiet contemplativeness of the film holds you. This is a film you will cherish and savour long afterwards. Which is why it is in my video collection since 1993 and why IMDb contributors 15 years on are still commenting on this heart-warming piece, half a dozen of them only so far this year.

So as to make a contrast, I suggest that impressive classic 'Whatever Happened to Baby Jane?' (1962), with Bette Davis playing against Joan Crawford: an intense dramatic piece.

Just a few weeks after being invited to the San Sebastián Film Festival – her last public engagement – Bette Davis died, as has Lillian Gish: unrepeatable.

This film is a warm and thoughtful study of ageing. All the performances seem very fine to me. Lillian Gish has a remarkable range of expressions - her portrayal has both depth and truth. The photography is beautiful and the music is sensitive and responsive to the images.