Annie Laurie

I saw this film at the Hippodrome Festival of Silent Cinema with a specially commissioned live score by Shona Mooney that was so mind- blowingly good that it's hard to separate out the film itself from the combined experience. However that's silent films I suppose, they are new each time in a way that talkies aren't. Although I've just had the best night out at the cinema for a long time, the film as a stand-alone item isn't perfect. That said it's pretty damn good and, note, one of those ones where you'd be foolish to decide whether to go and see it based on a You Tube clip. Like a Scott novel, you might dip into it and think it ludicrously antiquated, but accept its own rhythms and logic and you get hooked. The film really is Annie Laurie, it's her (Gish) and not any of the men who is the pivot, who makes the important choices good and bad, deals with the consequences, drives the narrative and has a full physical part in the very well-done and action-packed finale. It's funny at times, romantic or suspenseful at others.

The music though, in the performance I saw: simply stunning, and the best live film score I've experienced. The performers were, appropriately, Scottish traditional musicians and aside from being good music, pure and simple, the score was pitch perfect at every point in interpreting and enhancing the action. As one small example, one of the film's big problems, for a modern audience, is that the male love interest Ian MacGregor (this is the old story of the Campbells and the MacGregors leading up to Glencoe) is hard to take seriously. Unlike the character of his brother, who gets the 'other' girl and could probably pass muster in a current Hollywood film in a Paul Rudd kind of way, the way Kerry plays Ian, and the way his character looks, are just not what we are conditioned to expect and initially seem comic. However Mooney's music believes in him, just as Annie Laurie does, and it's the music that, building up to a climactic and decisive mid-river kiss, made us feel the moment as Annie Laurie does and, at that point and thereafter, buy into the deal that she does.

Even a ridiculous Hollywood postscript comes, rather nicely, in colour when all else is in black and white; whatever the actual explanation, it felt like a cool, self-subverting marker that we'd shifted realities, and made for a great close - reminded me of a similar effect from the extending of the aspect ratio in Dolan's Mommy - which I'd recently seen.

All in all, go to see Annie Laurie at any point, but if you get a chance to see it with the Shona Mooney score (the HippFest audience were told it would be touring at least to the Barbican in London), you should go considerably out of your way not to miss it.

The restoration of this movie had its Turner Classic Movies premiere, and I have spent a pleasant couple of hours looking at it. It stars Lillian Gish as Annie Laurie ... but it is more accurate to say that it co-stars Miss Gish and Norman Kerry as Ian MacDonald in one of those I-love-you-I-hate-you plots that was often used while some minor event was taking place, like World War II or the St. Bartholomew's Day Massacre, to give the movie a little gravitas. Here it's the Massacre of Glencoe, laid here entirely to the perfidy of the Campbells, led by Hobart Bosworth. Look it up if you care to know what it was. In this movie it's an excuse for a bang-up battle sequence at the very end, made possible by Miss Gish being shot, but still scrambling to the top of a hill with a bloodthirsty highlander close behind her, trying to stop her setting alight the signal that will call the the MacDonalds to save their embattled chieftain. Will she succeed? Will the lovers survive for a final two-strip Technicolor sequence?

Miss Gish decried her comedic abilities as "Funny as a barrel of dead babies", but she has a very funny sequence, in which, as mistress of her father's house, she is very full of herself as she prepares the place for a peace meeting between the clans. At other times she runs through her gamut of serious emotions, and does very well with them, thank you. Kerry is boisterous and charming in the early part of the movie, trying to buckle his swashes (whatever those are) like Fairbanks or Milton Sills. The rest of it has the usual late-silent players -- Creighton Hale, Patricia Avery, and Russell Simpson playing their parts very well. Although it appears to have been shot entirely on sets, director John S. Robinson does an impeccable job. Alas, it didn't do well at the box office.

I should mention Robert Israel's score, full of traditional Scottish airs and occasional bagpipes. He shows a dab hand at his job, as might be expected, with the title tune occasionally bringing a tear to my eye, and not just in pain at hearing the pipes.

Lillian Gish plays Annie Laurie, who's father tryies to mediate the feud between the MacDonalds and Campbells in mid eighteenth century Scotland. Annie Laurie falls in love with Ian MacDonald, son of the MacDonald chieftain and ends up in the middle of a treacherous massacre by the Campbells.

Made in the grand Hollywood style, some of the action sequences are well done, but nothing to go out of the way for.

By the time she made ANNIE LAURIE in 1927, Lillian Gish was 33 years old and had appeared in over 20 feature films and more than 40 shorts. It was her third movie for MGM after LA BOHEME & THE SCARLET LETTER, both of which were moderately successful. MGM at that time was the biggest, most powerful studio in Hollywood. Studio head Louis B. Mayer didn't like Gish because she was allowed more autonomy than most female stars (initially she had script approval and could choose her director) but as long as her movies made money, he left her alone. However ANNIE was an expensive flop, and that, coupled with the arrival of Greta Garbo assured Lillian's days at MGM would be numbered. After 3 more poorly performing movies (including the highly acclaimed THE WIND), Gish left Hollywood for 10 years.

It's hard to fathom why ANNIE failed at the box office at the time of its release. The film took its name from a well known ballad and was based on an actual historical event. Joining Gish were popular 1920s leading man Norman Kerry (PHANTOM OF THE OPERA) along with silent film veterans Brandon Hurst and Hobart Bosworth as the leaders of the rival clans. Also in the cast, in an atypical role, was Creighton Hale who was known for his comedic roles like in THE CAT AND THE CANARY. Here Hale portrays the chief villain and he's very good. The movie also had lavish production values as can be seen in the massive castle sets and in the hundreds of extras clothed in traditional Scottish dress (lots and lots of kilts representing the different clans).

The plot concerns two warring clans, the Campbells and the MacDonalds in 17th century Scotland. Gish portrays the title character who is the daughter of a diplomat trying to initiate peace between the two families. She commits herself to a Campbell but then falls for a MacDonald. When her jilted boyfriend plans a gruesome revenge upon the opposing family, Annie must risk her life to warn them before it is too late. The circumstances are based on the Glencoe Massacre which occurred February 13, 1692. While this event has been fictionalized and romanticized, it actually did happen. The attack is rousingly staged and is definitely the action highlight of the film. The final scene of the movie was shot in two-strip Technicolor which added to the expense.

After the movie tanked, MGM "forgot" about it (as they did all 4 of Gish's movies made there) and it disappeared for almost 60 years and was considered lost. In the 1980s a print was located in Oregon and turned over to the American Film Institute who sent it to the Library of Congress. The film was in less than pristine condition but at least it was preserved. After a number of years, restoration efforts began and the fully restored version, complete with a brand new full orchestral score, premiered in January of 2024. The music by Robert Israel is a medley of familiar Scottish tunes including the titular one which was the initial inspiration for the movie. It is this restored version that has now been made available on Blu-ray by Kino Lorber.

ANNIE LAURIE, while not top drawer Gish, still has lots of things going for it. It's a delight to look at with superbly detailed sets and excellent location shooting beautifully captured by longtime MGM cinematographer Oliver Marsh. The underrated Norman Kerry is both handsome and rugged but, as mentioned earlier, acting honors belong to Creighton Hale. Lillian is good as always but seems less at home in the lighter scenes. She does come to life during the dramatic finale which was more her mien. From my POV, the action sequences have been transferred a trifle fast but the LOC should know what it's doing. The ending Technicolor scenes do look good. While it's great to have ANNIE LAURIE, I'm still waiting for a restored Version of THE WIND...For more reviews visit The Capsule Critic.

"Annie Laurie" was just posted to YouTube a few days ago. However, after watching it, I really wish I'd waited and perhaps seen it elsewhere. I noticed in one of the reviews, EauDouce marveled at the experience of seeing the film with a live orchestra and on the big screen. Well, my experience was quite underwhelming and I think that whoever copied it, literally snuck a video camera into a theater or held it up to a video recorder and copied the movie that way! No music, a poor print AND periodically the camera fell down and the person duping it had to set it up once again! Crazy.

From what I could see of the film, it was a decent silent epic, though I have seen better. My feeling is that the film was a bit slow and relied a lot on guys repeating Scottish poetry.

The story is about the feud between two Scottish clans, the Campbells and the MacDonald's. Why exactly they hate each other is unknown but what is known is that the leaders of the Campbells is an effete and duplicitous jerk-face. Although the king has ordered and end to the feud and has promised to restore the lands to the MacDonalds, the Campbells haven't told the MacDonalds about this or the king's threat to whichever clan refused to sign a peace treaty.

As for Annie Laurie (Lillian Gish), she's a Campbell but has fallen for an ultra-manly man. When she learns of her clan leader's evil plans, she risks her life to aid the MacDonalds and save her beloved.

The film seemed slow and could have been better. However, the copy was so horrid. As I said above, if you really insist on seeing it, try to see if you can get a different copy or, better yet, see if it's playing in some theater.