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This is quite simply one of the handful of greatest achievements in the history of visual storytelling. There are images as fresh, as inventive as any you will ever see. You may find some of Gish's emoting a little over the top, but immediately there follow moments when she is as subtle and complex as anyone who came after her. She did, after all, invent screen acting as we now know it. One may wish for the original ending Gish and Sjostrom wanted; but the final images as re-shot were still created by artists at the height of their respective powers, and are memorable in their own right. The desert wind lives and howls in this film, as it has done only rarely in films by John Ford and David Lean. Anyone who doubts that cinema is art has never seen The Wind.

An awesome, dark & atmospheric film. Gish is superb as the fragile Letty driven to the brink of madness by the incessant wind whipping up the sand. Her portrayal, with her wide staring eyes & tensing hands as the madness threatens to overwhelm her is stunning. The film takes its time to establish its characters, with a constant backdrop of the menace of the environment & also the danger of violence & the descent into madness, building to a thundering & almost unbearably tense experience with the actual sand storm itself. A true classic of the silent era capturing a performer at the peak of her powers-the image of Letty staring wide eyed through the window as the sand uncovers the body will stay with you.

What struck me most about this film is how it achieved by purely visual means to evoke the threatening nature of the environment in which the female lead (Letty Mason, played by Lillian Gish) finds herself. The way the wind drives the sand and pushes against windows and doors and the very walls of the cabin makes it look and feel truly frightening. Lillian Gish is fantastic as an initially weak young woman who arrives in this environment as a total stranger, is hated by a woman on whom she depends and deceived by a man who (seemingly) offers to marry her, but who nevertheless finds inner strength in the end. 'The Wind' is a truly haunting film with an optimistic ending. Highly recommended!

The outstanding atmosphere makes this classic melodrama especially memorable. The story and the acting would have made a pretty good movie by themselves, but it is "The Wind" itself that makes it something more. Not only is the constant presence of the wind a well-conceived figurative parallel to the events in the characters' lives, but making it work on the screen was also a remarkable technical achievement for its era.

Lillian Gish is deservedly praised for her role as Letty, a young woman from the east who travels to a strange and unforgiving region. This is the kind of role that Gish always seemed born to play. But Lars Hanson also does an excellent job in an even more difficult role. In order for the story to work, Hanson has to make his character fully sympathetic to the audience, while at the same time making it plausible that Gish's character does not care for him very much.

It's still very impressive the way that the powerful prairie winds are made such an indispensable part of the movie. It must have involved a great deal of work and sacrifice to achieve such realism without fancy technology. And it is masterful the way that the howling, never-ceasing winds are used to parallel the conflicts among the characters. This is one of the fine classics of the silent era that should not be missed.

I've watched The Wind several times, and I am convinced that it is one of the greatest movies ever. It is certainly the best silent western, and Lillian Gish has never been so profound as she is here.

What lifts it to the rank of a masterpiece is the passion of the direction and camera-work, and it certainly shows the advantage in having a mature artist like director Victor Sjöström. The central character is, as promised, the wind, and the raw power of nature supersedes the melodrama. You become engulfed in the tempests and hurricanes, and it is only to easy to understand that they might drive the young lady mad.

Lillian Gish also does a magnificent job; her usual overacting is actually appropriate for this role, as the powerful cinematic images have established the likeliness that she is falling to pieces. This surely has to be her greatest performance. Dorothy Cumming is also equally powerful as the embittered "other woman", one of the most evil characters to be found in a western. The other actors are adequate and satisfying without rising to the level of genius. Their acting is natural and unforced, unlike most silents.

It definitely gains from being a silent movie, all that dialogue would become a distraction if we had to listen to it. It helps that Thames Silents Orchestra has composed a beautiful and moving soundtrack, one that would sound good on a CD recording.

If you have any appreciation for silent film, rush out and get this one today!

PS Everyone seems to hate the studio-imposed ending, including Gish herself. Well, they are wrong! The Wind was going to end with Gish escaping the bad guy's advances by fleeing into a sandstorm and perishing...typical Victorian tragic melodrama, the sort of thing spoofed by Chaplin and other comedians.

What we get instead is considerably more complex and interesting, and contains some of the best scenes in the movie. I won't give the credit to the studio execs who demanded the revised ending; obviously, Sjöström was a genius who knew how to work wonders with whatever material he was given.

Lillian Gish's legendary career was nearly as lengthy as her life. Time and time again, she has shown audiences that she was truly one of the finest actresses who ever lived. A perfect example of her power and artistry is in "The Wind".

Miss Gish plays "Letty", a young girl from Virginia who moves to her cousin's house on the wild, open plains of Texas. The plot is very interesting and very fluid. Miss Gish is wonderful as usual (the sequence of events at the end of the movie is among the finest performances on film) but the real star of the movie is Swedish heartthrob Lars Hanson. A real delightful performance, with real charisma.

A must-see film that deserves more recognition.

Really awesome silent film about a young woman who finds herself at the mercy of people who use and abuse her. With no way to get home, stranded in the mojave desert, Lillian Gish has maybe her best role. The special affects are astounding. The ending is very poor, however. Lillian Gish herself talks about how they insisted a sad ending would ruin her career, even though her films all had sad endings in the past and she was a huge star! She herself, hated the ending they made. Just ignore it and think about how great the whole rest of the film is!

'The Wind' is something of a pot-boiler. Lillian Gish goes to stay with her cousin in the country (a place where the wind constantly blows, storms boil, and cyclones attack). But jealousy and her own naivety cause problems for her - that and a charming stranger she meets on the train into her destination.

The wind itself is a major character in this film, causing havoc, covering up secrets, coming into houses, distracting, dissolving, and influencing all outcomes. When Gish's character is railroaded into marriage with a man she can't love, we shouldn't be surprised, nor should the main events leading to the film's conclusion be unexpected.

Beautifully shot by Seastrom and a wonderful performance from Gish help bring this film out from the classification of usual silent adaptations. It works well and even with an ending not originally as written, stands up after all this time.

...to the world of the silent era of movies. A most marvellous movie, beautifully acted and directed, even with the sappy ending. Victor Sjostrom directs this movie beautifully and it was a shame he never made another English language movie. Also a shame is that the incredibly handsome talented and charismatic Lars Hanson returned to Sweden when talking pictures emerged, his performance as Lige is incredible and he steals every scene he is in with Lillian Gish, no wonder she hand picked him for the role, in the wedding night sequence he just breaks your heart as he realises his marriage is a sham. Now, time to find a copy of "The Scarlet Letter", my holy grail of movies, if it's half as good as "The Wind" then it'll be more than worth the wait.

Lillian Gish plays her usual virginal character thrown into adverse and unjust circumstances, but here she does so much with the part as we watch her slowly unravel and lose her mind. She plays Letty, a girl from Virginia who comes to live with relatives in a dust bowl town. The atmosphere into which she travels doesn't make sense in many ways. The people there supposedly make their living from cattle ranching, but with the constant sandstorms I don't see how anything is supposed to survive in such an environment. However, that is not really the point. The constant wind and storms are just metaphors for Letty's own mental state and feeling of entrapment. Her cousin's wife is hostile to her from the start, convinced that Letty wants to take her husband away from her, and eventually forces her out of the home. As a result she marries a man she doesn't love, and once this is clear to him he accepts the situation and makes it a goal to raise enough money to send Letty back to Virginia where she will be happy. On top of this there is the constant specter of a wealthy married man who wants to take Letty's virtue for the recreation of it all.

The visual work on this film is spectacular, much like Murnau's "Sunrise" except in reverse - this film starts out on an upbeat note with Letty looking forward to the new direction her life has turned, and it being all downhill from there. Thus we come to the familiar topic of the abrupt upbeat ending and how it didn't make any sense in the context of the rest of the film. It was an early example of studio suits interfering with the artistic vision of the filmmakers, and so upset director Victor Sjostrom that he never directed another film in America.

Like Murnau's "Sunrise" and "The Crowd", 1928's "The Wind" is an example of silent film-making at its peak. This level of art in movies would be lost at the dawn of sound until the problems with the static camera could be overcome and the novelty of sound wore off to the extent that plot and meaningful dialog became important. The first problem - technical - was remedied much more quickly than the second problem, which was largely a matter of psychology and experience.

Highly recommended for silent film fans.

The wind Story Of A Young Girl With Her Fear The Wind. I Think No Movie After Or Before That Make This Kind Of Emotions . In One Side Is Young Girl And Other Side Is The Wind , Every Time Wind Comes She Freak Out If You Want Classic Movie With Powerful Ending See The Wind And You Never Remorse , Victor Make A Great Movie And Acting Is Great Too. Just See The Wind You Get Every Thing Without Any Dialog .

If you want to know how powerful, lyrical and emotive silent movies could be in their last days, just see Murnau's "Sunrise" and this absolute masterpiece, "The Wind". In both you quickly forget the absence of sound and come to enjoy it. Without voices' distraction, you're able to full appreciate the beautiful direction and photographic work, as well as Lilian Gish's wonderful interpretation - she should have won the first Oscar for best actress on a tie with Janet Gaynor. 1927 could be the last year for silent movies yet it was the greatest one, so that one wonders along with current reviewers if talkies were not a regress rather than a progress, after all.

A young girl moves out from Virginia to live with her cousin at Sweet Waters. She finds out that where she is heading, it is the Land of the Winds and that the wind there always blows and the sand is carried away with it. This wind is so vicious that people tend to loose their minds by it. Its ferocity "blows" away peoples' logic and they sleigh day by day into insanity, and this applies specially to women. Lillian Gish, who plays the young girl Letty, is a great actress who can really feel her part. She has such a great performance in this film that you can't help but bond with the young girl and you can really understand how she feels in every situation in the film. Her performance is just brilliant. Lars Hanson is the lead male actor and he too has a great performance that can stand beside hers. All the other cast was good as well. The director Victor Sjöström has done an excellent work with this film. I really wish I could somehow see the original ending of this film as well. In my opinion, this film is really brilliant. Never forget what the people went trough in those times to create such magnificent films.

A young girl (Lillian Gish) goes to live with her cousin, but finds herself to be an unwelcome guest. To escape from her cousin's evil wife, she marries against her will. However, the harsh solitude of country life, and the amazing strength of the wind, almost sends her to insanity. An amazingly effective film, which definately proves that Silent Movies are the highest form of cinematic expression!!!

In an isolated farm in the desert of the West, a woman is the victim of an obnoxious aggressor, whom she is forced to kill. One of the most beautiful silent films made in the United States by the Swedish director Victor Sjöström. The oppressive climate creates an enduring memory, as does the restless composition of Lilian Gish.

The American period of Victor Sjöström was not a great commercial success (in America he called himself Seastrom). Nevertheless artisticly he made a great film with "The wind".

As the title suggests the elements play a big role in this film, especially the ever blowing wind. The film was made in the Mojave dessert and oftentimes the wind had to be induced artificially, a gigantic operation in those days.

The film is also about the difference between the big city and the country side. In this respect it resembles "City girl" (1930, Friedrich Wilhelm Murnau). In "City girl" however the main characters idealize the countryside, with a disappointmend following. In "The wind" the main characters are aware of the rough aspects of the countryside, to be surprised by its intensity nevertheless.

The film is also interesting because of the role of Lillian Gish. Lillian Gish is a big name in the early history of film. She is in particular known for her roles in "Intolerance" (1916, D. W, Griffith) and "The night of the hunter" (1955, Charles Laughton). In the first mentioned film she mainly rocks the baby in between the episodes. In "The night of the hunter" she wobbles in her rocking chair, a riffle in her hand. For those who want to see Lillian Gish doing a serious piece of acting: watch "The Wind".

I would like to call attention to a scene in which the director in my opinion has portrayed a quarrel in a very innovative way. After the quarrel the two lovers are in seperate rooms and are walking back and forth in agitation. The only thing we see are two pairs of shoes.

Last but not least the ending scene reminded me very much of the ending of "The searchers" (1956, John Ford). In "The searchers" a person walks very demonstratively through the door to the outside. In "The wind" the person walks no less demonstratively insidse.

With motion pictures having its share of windy film titles throughout the years, ranging from SOMETHING IN THE WIND (Universal, 1947), WRITTEN IN THE WIND (Universal, 1956), INHERIT THE WIND (United Artists, 1960), and the most famous wind title of all, GONE WITH THE WIND (Selznick, 1939), one of the last great silent movies with artistic style and motion becomes simply called THE WIND (Metro-Goldwyn-Mayer, 1928). Directed by Victor Seastrom, who earlier directed its leading players of Lillian Gish and Lars Hanson in THE SCARLET LETTER (MGM, 1926), re-teams these two here for another classic melodrama where the wind/or cyclone take precedence through parts of the story "of a woman who gave into the domain of the winds."

Plot summary: Letty Mason (Lillian Gish) is a young girl from Virginia train-bound through the western prairie to stay with her cousin and family at his ranch in Sweet Water. While fearing the endless sounds of wind as seen through the train window, Letty soon makes the acquaintance of Wit Roddy (Montagu Love), a rugged fellow passenger and cattle trader who takes an interest in her. Once at her destination outside the train station, Letty is met by Ligh Hightower (Lars Hanson) and his friend, Sourdough (William Orlmond), nearest neighbors of her cousin (15 miles away) who have come to take her to the ranch by coach. While Letty gets a warm reception from her cousin, Beverly (Edward Earle), and meeting with his three children (Leon Ramon, Carmencita Johnson and Billy Kent Schaefer), she fails to get the same welcome from his bitter wife, Cora (Dorothy Cumming). During a social gathering, Letty meets with Wirt Roddy once more, who offers his hand of marriage. Because of her closeness towards her husband, the jealous Cora forces Letty to leave her ranch and get herself married. Accepting Wirt's proposal, she discovers through him that he's already married and only wants Letty as his mistress. With nowhere else to go, she chooses the marriage proposal of Ligh instead. Their wedding night is anything but pleasant, considering how both bride and groom are heavily nervous about being alone together. After Letty rejects Ligh's forced intentions, Ligh realizes Letty's hate towards him and decides to earn enough money to send her back home to Virginia. After returning home from working on the prairie, Ligh brings home an injured stranger who happens to be Wirt. Being left alone with him while her husband is out working, Letty soon finds her biggest fear is not so much the endless sounds of the wind, but the very presence of the man who's still obsessed by her.

Lillian Gish has come a long way since her days under famed movie director, D.W. Griffith, that began in 1912. After leaving Griffith by 1921, he ventured over to Metro by 1923. During her MGM years, her acting style not only improved, but Gish herself matured greatly as a serious actress. In a plot that echoes her earlier success of Griffith's WAY DOWN EAST (1920), where Gish braved the forceful blizzard winds, this time she goes through extremes of forceful winds of sand, with realistic insane moments where she observes the every movement inside her cabin, and unable to move herself forward through the wind while outside making her escape. Because this is a silent movie, Swedish actor Lars Hanson gets away playing an American prairie man. Most scenes are nearly stolen by the villainous and sometimes scary performance by Montagu Love. Dorothy Cumming as the unfriendly wife also brings chills up and down one's spine in the similar manner of other actress of the time, Gladys Brockwell. William Orlamond, who sometimes resembles that of Lucien Littlefield, is around for some comedy relief as the middle- aged farmer.

According to sources, THE WIND had little appeal to movie audiences back in 1928. THE WIND has fortunately aged well and stood the test of time, especially when it surfaced decades after its theatrical release. THE WIND did became a curiosity for many when the climatic windstorm segment involving Gish and Love was clipped into a segment of an 13- week, well-informed history of silent movies documentary "Hollywood" (1980) under the narration of James Mason. Availability to home video with Thames Orchestral Score conducted by Carl Davis in place of original 1928 soundtrack and sound effects went into release by 1988, with five minute introduction by Lillian Gish herself. THE WIND was soon followed by world television premiere on Turner Network Television (TNT) August 26, 1990, followed by another broadcast Christmas Eve (December 24, 1990) as part of its "Silent Night" silent movie festival. In later years THE WIND (at 77 minutes) enjoyed frequent broadcasts on Turner Classic Movies, where, through its revivals, continues to win the appreciation it lacked way back in 1928. (****)

Not a big fan of silent films...kinda like a Rolling Stones concert without Jagger...and an even smaller fan of silent films like this one with tacked on happy endings.

The Wind (1928) : Brief Review -

There is a reason why i always say that Lillian Gish has the best Filmography of all time for any Actress because she has done character centric classics like this. Lots of people say that Lillian Gish was the most beautiful and innocent face ever captured by movie camera and i agree with it fully. She was so cute, i mean i find her very cute even when i am watching her films 100 years later and when i already have seen so may gorgeous actresses with plenty of powder on theirs noses, dark lipsticks and extreme sex appeal in talkies. Well, I wonder why people never talk about the classics she had done and how many those were. People usually talk about Betty Davis and Katherine Hepburn's classics and their roles but when i count it i found out that Lillian Gish alone had done more number of classic films and more character driven roles than combined total of Davis and Hepburn. Yes, you can confirm it by watching those films just like i did. And most of her classics were lead by her and that's something very very rare for Female Stars. Anyways, let's talk The Wind which came quite late from Gish's golden run period but still left me in awe. A frail young woman from the east moves in with her cousin in the west, where she causes tension within the family and is slowly driven mad. Actually, It is a formula generating flick. It created those formulas of forced arrange marriage turned into lifetime commitment and girl getting know the husband's true love over boyfriend's fake Love and also the jealousy formula. Lillian Gish plays the young woman and she looks so cute. I am saying it again, she looked exactly same cute as she looked 10 years ago in those Griffith's Classics. More than the actors, The Wind is about director Victor Sjöström's skillful direction and accurate conviction over the mixed subject. It's just not a plain Romance but it has few side stories too and all are very influential.

RATING - 8/10*

By - #samthebestest.

The Wind is a story about a young woman who comes to the west in order to live with a relative, and finds that conditions in this part of the country aren't all that hospitable and sometimes the people aren't either. I found the struggles of Letty to be fully engaging, even if I kept wondering why she didn't run away and return to her life in the east. This movie takes you on an emotional roller coaster as there are some humorous moments, some frightening moments, and even a bit of romance as well. I genuinely didn't know where the journey of this film would end up, and part of that is because the customs and way of life back then are different from what we have now. For instance, the laissez-faire way they get engaged was quite strange to me. I was willing to go with it because the story takes place so long ago that I just can't relate, but it still felt weird.

I tend to think that they exaggerated the mental anguish in The Wind. I can understand a person being a bit crazed from dealing with the isolation and extreme weather conditions in this Old West town. However, the seemingly short amount of time it takes the protagonist to go from fun-loving to freaked-out felt a little crazy. Also, while I recognize this is probably more of a symptom of the silent film era where you needed to rely more on big performances and extreme expressions to convey what is happening without needing so much dialogue, Lillian Gish looks almost like a caricature of a crazy person. Finally, the ending felt a bit too convenient, and I'd argue it might be sending the wrong messages. However, for the time it probably works just fine. Overall, I think The Wind is a solid silent film, and one that has a well-told story that I enjoyed.