Hearts of the World

'Hearts of the World' was another "wanted to like a lot more" sort of film. Do really like to love a vast majority of the films directed by DW Griffith (one of the most important directors in silent film, if not quite one of my favourites). Have liked Robert Harron in other things and the subject matter sounded great, but one of my biggest main reasons was the chance of seeing the immensely gifted Gish sisters Dorothy and especially Lillian in the same film.

While it is definitely worth seeing, 'Hearts of the World' is not a Griffith essential and other films of his represent him a good deal better. Harron has also been better in other roles. The film is well intentioned, well made and has emotional impact and the Gish sisters while not at their very peak both fare very well. 'Hearts of the World' falls well short of being a masterpiece and fares a lot better in the war scenes than the love story, but there are also a lot of things that work very well in its favour.

Beginning with the good things, 'Hearts of the World' looks wonderful. It is a beautifully shot film with the documentary-like war scenes footage fitted seamlessly and remarkably evocatively. The rural scenery is lovingly idyllic and juxtaposes very well with the brutality of the war scenes. Griffith's direction does have glimpses of creative brilliance (if not as much as in a number of his other films), especially in the scenes centering around the war. Which is where 'Hearts of the World' is at its strongest.

The war scenes are far from small in scale and are immensely harrowing, one really does see and feel what the war was really like without being beaten around the head with that fact, staged with searing intensity and still has the ability to shock and bring a lump to the throat. Most of the acting is fine, both Gish sisters coming off brilliantly. Lillian, who excelled more in drama and was better known and more versatile in my view, is deeply moving, her trench scene wrenches the gut. Dorothy, who fared stronger in comedy, is appealingly free spirited. Erich Von Stroheim is interesting in his role.

On the other hand, Harron has given far better performances elsewhere. This is actually the kind of role he did well, but here somehow he came over as rather bland and stiff in a particularly one-dimensionally written role. In a film where all the characters lack depth and are little more than surface cliches. The pace doesn't fully ignite, there is momentum in the war scenes but the love story is dull.

And it is with the romance where 'Hearts of the World' most fails. It is excessively melodramatic and is riddled with contrivances. There is nothing surprising about it either, with so much of it having a lifted out of another film vibe.

In conclusion, watchable for fans of Griffith and the Gish sisters but all did better before and since. 6/10

Two American families, the Hamiltons and the Stephensons, have immigrated to a tranquil French village. As the film begins, Robert Harron (as "the Boy" Douglas Hamilton) and Lillian Gish (as "the Girl" Marie Stephenson) return home from separate trips. Lillian is obviously infatuated with Mr. Harron, and sets out to win his heart. Meanwhile, singer Dorothy Gish (as "The Little Disturber") arrives in town; and she, with "perseverance and perfume", also sets her sights on handsome Harron. While Dorothy's efforts at seduction are valiant, Harron proposes to Lillian. As they plan their wedding, their lives are interrupted by a bigger "disturber" - The Great War (now called World War I)…

This film, another huge hit for the director, was "commissioned" by the British government (note the introduction), and must have secured the blessings of both the U.S. and French governments. The purpose was to create a pro-war, propaganda epic. Although the film is patriotic, and the war is never exactly shown as unnecessary; it leaves an unmistakable impression as an ANTI-war film. So, what started as "A Love Story of the Great War" becomes "A Love Story Interrupted by a Great War".

Griffith reveals his true anti-war sentiments with the statement, "After all, does war ever settle any question? The South was ruined - thousands of lives were sacrificed -- by the Civil War; yet, did it really settle the Black and White problem in this country?" (This question also offers, arguably, some redemption for Griffith's tendency for racial insensitivity. It's too bad Griffith's "The Greatest Thing in Life" is currently unavailable; in it, Harron shocked audiences by kissing a dying Black soldier.)

In hindsight, it's easy to dismiss "Hearts of the World" as a Griffith production line effort. While it's derivative in film techniques (Griffith's own); it still equals, and sometimes bests, earlier work - for example, witness the improved upon (from "The Birth of a Nation") climatic ending, with Gish frantically trying to escape George Siegmann (as Von Strohm)'s clutches. This, and the battle sequences are, at least, up to the standards set by Griffith; so, it may be unfair to think of "Hearts of the World" as relatively minor. It would likely have won a "Best Picture" of the year, had they been given. Robert Harron would have won an additional "Best Actor" award; and, while Lillian Gish might have lost to Mary Pickford's "Stella Maris", sister Dorothy Gish would have earned a "Best Supporting Actress" award.

Also watch for… G.W. Bitzer's amazing camera work. The explicit, but appropriate scene of a mother nursing her baby during wartime. Dorothy licking her lips over Harron, but settling for "Cuckoo" Robert Anderson. Griffith's parallel symbolism, right down to Gish's goslings and Harron's little brothers. Lillian wandering into madness, and spending her wedding night with her beloved's "corpse". Griffith "regulars" Siegmann, and "mothers" Kate Bruce and Josephine Crowell, who always stand out in lesser roles. Harron very quietly falling in love with the infatuated Lillian, while being pursued by seductive Dorothy; demonstrating the difference between lust (when he kisses Dorothy back) and love (when he eyes Lillian's figure).

There are members of the Harron and Gish families in the cast (and a Walthall), which would be nice to have somebody identify (they are probably somewhere in the opening). Noel Coward may be difficult to recognize; he follows Gish, early on, with a wheelbarrow. Erich von Stroheim is very easy to spot, clicking his Hun heels for the camera. Incredibly, scene-stealing littlest brother Ben Alexander grew up to serve (memorably, as Franz) in Lewis Milestone's "All Quiet on the Western Front" (which owes some debt to this film); later, he co-stared in "Dragnet".

********** Hearts of the World (3/12/18) D.W. Griffith ~ Robert Harron, Lillian Gish, Dorothy Gish, Ben Alexander

A scene in the Anne book, Rilla of Ingleside, had a mention of the principal characters going to see this movie in 1918, in a theater in Prince Edward Island, Canada.

This is a superb telling of war and how it affects the "common people." It begins with life in a small French village and how people go about their daily lives. This is the story of two Americans (Lillian Gish and Robert Harron) who meet and fall in love. But during their courtship Lillian's sister (Dorothy) takes a liking to Robert (called The Boy on the movie title cards) and tries to take him which leads to some interesting scenes. She finally realizes she can't have him and decides to take what she can have.

There are good action battle scenes that very well show the chaos that is a battle. Chaos reigns supreme again when the town is bombed and the citizens have to flee. They have to try and pack then get out and still survive the bombing. Then there are those that don't want to leave. The movie does a good job of showing the horrors of death and the impact that has on people.

War is about people. We tend to forget that (today's news refers to the impact on non-soldiers as 'collateral damage'). D.W. Griffith shows that impact. And yet, when it is over, how quickly we again look for the bright side of life and that is how it should be.

One of the great features of this film is the limited use of title cards. They are used mostly as background filler and very little for conversations (much like Sunrise). Yet you know what is going on and the emotions of the moment. There is nothing mechanical about the acting. 8/10

This film from D.W. Griffith chronicles the relationship between a guy and lady (called 'the boy' and 'the girl' throughout the film). Unfortunately for them, WWI begins and instead of marrying, they are separated. He goes off to war, she is stuck behind enemy lines after the Germans take over that portion of France where she lives. Will they lovers be reunited?

As long as you don't take this film as a factual representation of WWI, you should watch it. However, please understand that it was a piece of blatant propaganda financed by the British government--designed to get the Americans to commit to the war. However, by the time the film was released, the Americans had declared war on the Central Powers (including Germany). Just keep in mind that the one-dimensional view of the war is historical nonsense. And, while folks in 1918 wouldn't agree, the US really had no reason to get involved in this as EVERYONE involved was responsible for this long and senseless war. But in the film, the Germans are mostly murderous guys bent on despoiling women and the French are 100% pure and virtuous--which clearly makes the film propaganda. Want some more examples? How about the intertitle card that reads "German militarists plan the dastardly blow against France and civilization"! Heck, the Germans in this one even want to blow up baby geese!! Overall, technically well made (with a few amazing battle scenes) and highly inaccurate and inflammatory.