The Mothering Heart

The story is very ordinary, but Lillian Gish is incredible as the woman who discovers her undeserving husband's infidelity.

Mothering Heart stays with you long after you watch it. Not only

does it represent a turning point in the career of Lillian Gish, it

showcases Lillian and her support in outstanding performances.

As the little mother, Lillian is haunting. Her scene in the garden

doesn't strike one false note. Her scenes in Birth of a Nation, Way

Down East and The Wind come to mind when you see her stagger

towards the camera, distraught yet blank-faced. Walter Miller

shows off the qualities that Griffith liked in his leading men:

meekness, timidity, vulnerability. His performance anticipates

Bobby Harron's work on the modern story in Intolerance. Viola

Barry is delicious as the Idle Woman. The use of cross-cutting,

framing, set design, costuming, lighting and brisk pacing add up

to a fascinating, eerie film, possibly the best Biograph short Griffith

ever made.

A big picture. An evidence of this is the fact that it is in two parts. The feature is the work of Lillian Gish. Even those who favor more mature players must concede that this young girl acts far beyond her years. Walter Miller as the husband finely depicts the young man whose head is turned by his transition from the struggling stage to prosperity. The third corner of the triangle is a new player m the Biograph forces; as the restaurant flirt she is a derided success. The restaurant scene, by the way, which alone is said to have cost $1,800, is a superb setting. The story is the thing, however it holds, from the beginning to the finish. The punch comes suddenly, but it strikes hard. - The Moving Picture World, July 5, 1913

The stereotypical acting seen in early silent movies captures performers constantly overdramatizing, even when situations in the narratives don't call for such emoting. Several reasons for this overextension of these physical dramatics include the thespian methodology of the Victorian stage. Poor acoustics in most theaters required actors to loudly verbalize as well as to show visually the patrons sitting in the back seats the drama unfolding far from them. Also, with a lack of "dialogue title cards," silent movie actors had to reflect their feelings with body language the spoken word would normally convey in real life.

D. W. Griffith changed all that. His films were moving towards the direction of actors expressing less with their bodies and more with their faces--hence, he was physically moving his camera in closer to his performers instead of remaining stationary on the standard wide shot.

In a leap forward in dramatizing his plot by showing the angst of his actress, Griffith had Lillian Gish in June 1913's "The Mothering Heart" break the mold of physicality by filming her acting in a subtle, restrained rendering of a pained wife and new mother dealing with a cheating husband, played by Walter Miller.

Not that such a performance hadn't been captured on celluloid before. But Gish's mannerisms throughout the movie reflected a new style of acting rarely seen on the screen up until then. The anguish she undergoes is visibly noticed in each step of her discovery her husband has been philandering behind her back. She suspects the relationship when he doesn't return home from work at his normal time, then finding hard evidence of a female's handkerchief in his pocket, then witnessing him getting into his mistress' car. At each step, Gish conveys via her face and body language deep hurt. As a true, strong woman, she is able to take decisive steps to counter her husband's infidelity, all the while refraining from uncontrollable gestures (except for a brief wild release of emotions at the outdoor plants) normally captured in early film of actors in similar situations.

The cinematic world took notice of Gish's performance in "The Mothering Heart," and from this point onwards, silent movie actors began to taper their excessive movements and learn how to express their innermost feelings by facial expressions.

Lillian Gish gives her greatest early performance in what is arguably the best Biograph of them all. Here, Griffith puts together all the dramatic techniques he had honed over the past couple of years, and finally seems realise what an asset he had in Gish.

For the first time Griffith really liberates his camera, dispensing with the old either/or situation of three-quarter length shots and extreme close-ups. He puts his camera exactly as far from or as close to the action as it needs to be, often using multiple set-ups in the same location. This is particularly effective in the dance-hall scenes – the large room becomes a real place because the camera really gets inside it. The introduction of the larger space makes it possible to show the flirtation between the husband and the "idle" woman in medium close-ups without it being confusing. The next logical step here would have been for Griffith to introduce the point-of-view shot, but unfortunately that was a step he never took. See Raoul Walsh's Regeneration for what is probably the earliest genuine point-of-view shot.

Ultimately however, all eyes are on Lillian Gish for her powerhouse performance. She works largely with props, facial expressions, and tiny gestures to convey a whole range of emotions. The fact that she does all this whilst barely moving, while incredible in itself, means that her scene of rage where she batters the rose bushes has all the more impact. The rest of the cast is rather unforgettable, and is made more so in comparison to Gish. Walter Miller, the husband, despite several years at Biograph and a number of lead roles, never really did anything outstanding. He is certainly competent here though, and this may be his finest hour, albeit one outshone by the glow of Miss Gish.

Griffith now had his heart set on directing a full length feature, and probably saw this and the other two-reelers he made in 1913 as warm-ups. Here, he reaches the pinnacle of poignant and dramatic expression in his Biograph shorts, and The Mothering Heart can be seen as something of a companion piece to The Battle of Elderbrush Gulch, in which he perfects the large scale action scenes he would need in his features.