Horizonte Sombrio

You can't keep a good story down. DW Griffith's film of Way Down East was an adaptation of a popular play of the late 19th century, but that play was itself a rather flagrant rip-off of the Robert Hardy novel Tess of the D'Urbervilles. True, the ending was substantially altered, and Way Down East's conclusions were fustily moralist compared with Hardy's bold progressiveness, but this in a way just goes to show how almost identical situations and characters can be adapted to suit a variety of means. Griffith keeps the moral sentiments of the play, but for this "elaboration" (the word used in the picture's publicity material at the time) he craftily sheers it of its staginess to produce a work of pure cinema.

Technically Griffith may by now have been overtaken by his peers, but he has lost none of his ability to show character and intention through meaningful staging and encouragement of naturalistic acting. For example, when Lillian Gish turns up at her rich relatives' home, no title card reveals her sense of being out of her depth, but Griffith often keeps her in long shot, emphasising the isolating vastness of the house, and this has an impact on how we view the scene. We then realise Mrs Tremont's embarrassment at having this poor cousin walk into her life by the distance the woman keeps from Gish and her awkward attempts to avoid eye contact. One of the most nicely done scenes is the one of Gish's wedding to Lowell Sherman. Unconventionally, he keeps the camera behind the pastor, obscuring the couple, and keeping a cold empty space in the foreground. This really gives us the impression that something is not right here, even though we haven't been explicitly told so yet.

What really impresses about Way Down East is its beauty, which suffuses almost every frame – exquisite countryside vistas, painterly shot compositions, not to mention many radiant close-ups of Ms Gish. Griffith always liked to make his pictures pleasing to the eye, but there is method in all this gorgeousness. Griffith uses natural beauty to emphasise the idyll of the Bartlett farm, and it's no coincidence that this is at its most striking in the shots when Gish first arrives there. And Griffith continually flatters Gish with the camera, framing her tenderly and often in soft focus, creating a visual metaphor for her delicacy and purity.

Gish's acting is of top standard, far better than the hysterical hamming she displayed in the previous year's Broken Blossoms. It's also nice to see her in a proper adult role rather than the disturbingly odd little girl figure she was in that earlier picture. Richard Barthelmess is also excellent, and like Gish he is capable of expressing a lot by doing very little. Together Gish and Barthelmess give what are probably the best lead performances of any of Griffith's features. No-one else in this cast makes an exceptional impact, but none of them is outstandingly bad either.

A fair few of those supporting players appear mainly for comic relief, and there are by Griffith's standards an unusually large number of comedic interludes in Way Down East. This unfortunately was one of Griffith's biggest weak spots. Some of these gags look like they might be fairly funny in themselves, but they don't look it because Griffith keeps hammering them home with close-ups, making them seem forced and predictable. He should have taken a leaf from his pal Chaplin's book, and shown a series of jokes in a continuous shot, giving them a more natural flow and getting more laughs as a result.

Watching Way Down East also makes me wish Griffith the writer had more confidence in Griffith the director, as well as in his cast and his audience. This picture has far more intertitles than it really needs. There are several which reveal Lennox to be a bounder, but these are superfluous because there are enough clues in the way he scenes are staged and the way Lowell Sherman plays him. It would be far more satisfying for the audience if they were allowed to figure out for themselves that he is up to no good. Still, this is a comparatively small blight on what is one of DW Griffith's most visually lovely, deeply engaging and marvellously acted pictures.

Lillian Gish and fellow co-stars really bring home this great drama. It's interesting and exciting and wonderful to watch. Surely a legend of the 20th Century, Mr Griffith outdid himself with this successful film and Gish can only be praised for a great performance. Her pain and despair can be felt in the scene's where she realises she's been 'betrayed' and she nurses her child while he slips from this world. It's acting at it's finest for no words were necessary, it's all in 'the look'. Certainly 10 out of 10, but if I were to make one comment about this film in the negative, it would be it's length. Perhaps 15 to 20 minutes too long. Otherwise it's majestic.

Way Down East (1920)

*** 1/2 (out of 4)

Anna (Lillian Gish), a naive country girl travels to Boston to ask her rich relatives for some money but once there she meets a rich man (Lowell Sherman) who likes to play the ladies. Soon the rich man cons Anna into a fake marriage but when he learns that she's pregnant he informs her that the marriage is fake and he leaves her. After the baby dies, she's kicked out everywhere because people see her as an unwed mother. She lands a new job with a family but keeps her secret from everyone including a young man (Richard Barthelmess) who falls for her but soon gossip reaches the town and Anna's secret comes out.

Being a huge fan of the director I'm really not sure what took me so long in watching this film. I've read countless books on the director, silent era and Gish and everyone of them have mentioned the ending to this film, which has Anna stuck on a sheet of ice while is quickly goes down river and nearing a waterfall but more on this later. The story itself deals with hypocrites in religion and one of Griffith's favorite subjects of the rich taking advantage of the poor. The story itself really isn't all that original but there's certainly magic all over the film. Lillian Gish, the greatest of all silent female actresses, turns in another marvelous performance as the poor girl who doesn't know when her heart is being played with. There's a short but heartbreaking sequence where Anna is taking care of her dying child and the tenderness and heartache in the eyes of Gish says more than any words could. The power that this scene contains is just one reason why I think silent films are more powerful than sound ones. Richard Barthelmess is also terrific as the young man who sees Anna as a virgin wife and the changes his character goes through are perfectly captures by the actor. Lowell Sherman is also terrific in his role which has to be one of the greatest villains in film history. Griffith certainly builds up the hatred towards his character and it's quite powerful. The cinematography by G.W. Bitzer is among the best of his career.

You can't say Griffith today without getting into a bullshit debate about race but this is a damn shame because there's no doubt in my mind that he had the greatest mind in the history of cinema. We could talk about the battle scenes in The Birth of a Nation or we can talk about nearly any scene in Intolerance but there's no question that Griffith knew how to create suspense and really push a scene for everything it's worth. The famous scene here is the climax where Anna is stuck on the ice and it's just downright remarkable at what they were able to pull off. Various people nearly died in Griffith's 1915 and 1916 epics and that holds true here where both Gish and Barthelmess nearly died pulling off this scene. I've read countless books that talked about how this stuff was filmed but it still seems impossible that they were able to pull this off. The epic scenery and the way it's shot shows that there isn't any trickery going on, which is just downright remarkable. It really blows my mind at how Griffith could pull all of this stuff off and watching it on screen is just something truly remarkable. Apparently Gish suffered permanent injuries to her hand while filming in the cold water, which is just another reason why silent stars were so remarkable since they had to do their own stunts and without the benefit of CGI. Considering that the term "special effects" weren't into play when this was filmed, it's really breathtaking to see something like this take place. It's amazing but 88-years later I can't think of a scene that matches this.

This enormously successful film lives up to its legendary reputation. But it's also disappointing.

The atmospheric splendor of the cinematography and the melancholy mood set by the original musical score (on the Kino Video release) lull the viewer into the sense of reverie essential to appreciating this charming representation of countrified America facing the encroachment of big city evils.

The story is well-told by director D.W. Griffith, and the moral message of Woman's spiritual virtuosity is exploited without the sermonizing of some of his other pictures. There is a sensitivity and naturalness exhibited in the unfolding narrative of Way Down East and a graceful style seen in none of his other epic-scale ventures. In bringing the sweetness of his famous one-reelers to a major feature film, Griffith captured an almost magical tone and ambiance that distinguishes Way Down East as a masterful piece of intimate storytelling, rivaling Broken Blossoms (1919) in its intensity and sheer beauty.

However, it must be said that Griffith's sideline excesses in plot development are many and varied, hindering the progression of the central tale of Anna Moore's struggle to escape her past and search out a new life. Annoying bits of slapstick humor, totally at odds with the romance and tragedy of the main story, are indulged in while overly sentimental touches, like long, wistful close-ups, are equally aggravating.

Though otherwise superbly acted by Lillian Gish (Anna), her role is marred by the fact that some of her more emotional scenes are unnecessarily drawn out by Griffith. This is particularly true in the sequence of the death of Anna's illegitimate newborn.

Richard Barthelmess, as David Bartlett, Anna's sweetheart and savior, is outstandingly effective, as is Lowell Sherman as the decadent cad Lennox Sanderson who deceives Anna. Not all of the supporting cast was as competent or convincing, due largely to out-of-place comedic impersonations.

One huge stand out is Mary Hay who leaps onto the screen with a refreshing vivacity. The wit she imparts to her small role is the only really clever humor in the movie.

Long-forgotten today, but much discussed at the time, was the cameo appearance in the movie's prologue of popular New York society girl Mrs. Morgan Belmont, who played Diana Tremont, one of Anna's snooty Boston cousins. To do justice to her part, as well as to form an exciting contrast to the pastoral images to follow, Griffith went all out in the costume department, hiring top fashion designer Lucile (Lady Duff Gordon) to design glitzy gowns for the garden party and ball scenes.

Despite some errors in continuity, Way Down East's celebrated climax of Anna's rescue from an ice-flow as it drifts toward a roaring waterfall, is perfectly paced and as thrilling as it must have been to audiences in 1920. Considering the limited special effects of the day, the scenes are amazingly realistic. Gish lying unconscious on an ice cake as it zooms to destruction, her arm trailing in the current, is one of the most familiar silent film shots, even to people who know next to nothing about the genre, and although it has become almost cliché, its power is undiminished.

As a story, Way Down East is both fabulous and frustrating but its photographic beauty and emotional resonance are almost unparalleled in the Griffith oeuvre.

"Way Down East" will probably be a hard pill for many filmgoers to swallow, as it's a silent and very long, but I would recommend you give it a try, as it's also pretty entertaining.

Lillian Gish gets put through her melodramatic paces by the granddaddy of modern cinema, D.W. Griffith. Griffith was a master at building his movies up to intolerably exciting finales, and this film is no exception. A classic set piece puts Gish trying to escape across a frozen river, jumping from one drifting block of ice to the next. And consider that this was in the day before special effects, and it's even quite possible that Gish did all of the stunts herself.

A slice of early cinema that goes down easily if you give it the chance.

Grade: A-