Il vento

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.

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.

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.

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.

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.