The Wind

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.

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.

Peculiar, but brilliantly filmed silent classic starring Gish as a young woman who battles for her life as she lives in the windy Texas desert, and is torn between two men who want her. Special effects are quite breathtaking for its time and since it was filmed in the scorching Mojave Desert in California.

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!

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.