Órfãs da Tempestade

Adolphe D'Ennery's novel was one of those countless melodramatic maudlin stories which were thriving in France of the 19th century. DW Griffith decided to transpose the action just before and after French revolution.The novel was rather reactionary and its historical background was thin and vague.

But Griffith's vision of the French Revolution is naive,to put it mildly.He was not apparently aware that the 1789 events were mainly a bourgeois move,and the poor were only a tool.The dichotomy Good Danton/Wicked Robespierre should make people who are looking for a sort of historical accuracy have a look at Wajda"s "Danton"(with G.Depardieu,in the eighties).

Forget history and you have a two-hour and a half silent movie with never a dull moment.Griffith is a wonderful storyteller,who had a great respect for his audience.Some sequences are still impressive today:the aristocratic orgy,when the Poor are starving at the gates of the palace is far from D'Ennery's timid depiction of the scene in the book;Lillian Gish,a wonderful actress who 'd been part of the cinema till the eighties,is so powerful in her part of the abducted maiden Henriette we can almost hear her when she screams out of despair:"is there a man of honor among you?Louise and the shrew who got her under her thumb begging in front of the cathedral as the snow is falling is a splendid picture,recalling a painter's work;even if Danton's coming to the rescue of a soon-to-be guillotined Henriette is thoroughly implausible,we cannot help but admire the director's maestria.

Few silent movies have stood the test of time as well as this one.

D.W. Griffith loved epic stories full of dangerous situations and damsels in distress. With the beautiful and talented Gish sisters, he got two damsels for the price of one. "Orphans of the Storm" is probably the most beautiful of all Griffith features. The lavish detailing of the sets is much better than "Intolerance" or "Broken Blossoms" and the costumes are magnificent. By this time in Griffith's career, his direction was already beginning to become stale and his plots too old-fashioned, but somehow he makes "Orphans" work to his advantage.

Lillian Gish is Henriette Girard and her sister Dorothy plays her "Sister" Louise. The amazing Joseph Schildkraut plays de Vaudrey, a nobleman who truly is noble. The "storm" in the title refers to the French Revolution, which is the background this story of family and romantic love plays itself upon.

As usual, Lillian Gish is wonderful in her role as the devoted sister Henriette; but it is Dorothy Gish as blind sister Louise who is truly the star of the film. Her performance drips with the pathos, pain, and longing that most people associate with her older sister. Schildkraut shines in this, his first Hollywood film role.

The frequent ridiculous scenes (Danton running to save Henriette from the executioner's blade?) and length of the film will turn most modern viewers off; but those who have a love of history, epic spectacle, and the timeless beauty of the Gish sisters will enjoy "Orphans of the Storm".

In the Eighteenth Century in France, a few years before the French Revolution, the Countess de Linieres (Katherine Emmet) asks her minion to deliver her baby daughter Louise to an orphanage to protect her. However he leaves the baby on the stairs of a church. A peasant finds Louise and brings her home to his wife and they find a necklace with her name and money in the basket. They raise Louise with their daughter Henriette as sisters, but years later there is a plague and they die and Louise becomes blind. Louise Girard (Dorothy Gish) is totally dependent on Henriette Girard (Lillian Gish) and they travel to Paris expecting to find the cure of Louise's blindness. The rogue Marquis de Praille (Morgan Wallace) sees Henriette and becomes fascinated with her virginal beauty. He asks his men to abduct Henriette and brings her to his party. Louise is left alone in Paris and the scoundrel Mother Frochard (Lucille La Verne) forces Louise to beg on the streets for her. Meanwhile the noble aristocrat Chevalier de Vaudrey (Joseph Schildkraut) saves Henriette and they fall in love with each other. But Henriette explains that she had promised Louise that she would not marry until Louise could look upon her husband to approve him. Meanwhile Danton (Monte Blue), who is saved by Henriette, and Robespierre (Sidney Herbert) are plotting the French Revolution that explodes on the streets keeping the sisters apart.

"Orphans of the Storm" is another magnificent epic by D. W. Griffith and his last success. The film impresses in many aspects, such as the screenplay, the set locations and fantastic camera work, with impressive angles considering the size of the cameras and the technology in the early Twentieth Century. The plot is a combination of heavy drama, romance and action and sensitive viewers will certainly need a handkerchief to see the touching scenes of the sisters set apart. The suspenseful conclusion, with Danton and his men trying to deliver the pardon of Henriette and Chevalier de Vaudrey, is suspenseful and thrilling. The lovely Lilian Gish is another attraction with a wonderful performance. Last but not the least, "Orphans of the Storm" is a mandatory film for any cinema lover. My vote is nine.

Title (Brazil): "Órfãs da Tempestade" ("Orphans of the Storm")

ORPHANS OF THE STORM is quite an impressive looking silent film from D.W. Griffith, who was obviously the Cecil B. DeMille of his day. He has an instinct for showing surging crowd scenes involving all the unrest during the French Revolution and these scenes are highly detailed and very arresting visually. All the sets and costumes look as though a lavish budget was spent on this story of two sisters who survive the French Revolution after many melodramatic twists and turns of their fortune.

DOROTHY GISH and LILLIAN GISH are the sisters, with Dorothy as the blind waif who is separated from her sister when an overly amorous nobleman orders Lillian to be brought to his orgy. From there on, the Dickensian plot becomes thicker and thicker as the girls suffer one indignity after another in order to survive.

LUCILLE LaVERNE is the old hag (she later was the model for Disney's Wicked Witch in "Snow White"), a harridan who makes Dorothy a beggar in the streets. "You'll shiver better without a shawl," is one of her immortal lines.

Joseph SCHILDKRAUT is very impressive in an early American screen role, demonstrating charm and skill of the kind that would land him important parts in future costume films like "Marie Antoinette." MONTE BLUE is Danton, a man who meets LILLIAN GISH early in the story and later becomes the defender who saves her and Schildkraut from the guillotine.

It's all very melodramatic, the acting ranging from overdone to wildly overdone. Griffith was never subtle in asking his performers to give it their all. Excessive wringing of hands, eye-rolling to show anguish, fierce looks to show hatred, etc. may cause unintended chuckles when viewed by today's audiences, but there is never any letdown in the telling of a compelling story using the French Revolution as rich background material for a tale of villainy and heroism.

A fascinating silent film with an appropriate film score added to give the story even more force and flavor.

Summing up: Overlong drama, but compelling from the start to the feverishly melodramatic end.

Exquisite close-ups of Lillian Gish are touching and lend poignant charm to her performance.

First of all, I find it desperately necessary to remind the viewer of silent movies of the danger of analyzing these pieces under the lens of the modern cinemagoer. The aesthetic values of silent cinema are incommensurable with the values of modern cinema. Aside from the obvious difference that one relies purely on image while the other has the benefit of sound, we must also not forget that the cinema of the silent era is cinema in its infancy, in a constant state of the most early self-discovery (which is not to say that cinema has necessarily "grown up" or "progressed" into our modern era; our cinema today is only different than the cinema of the silent era, neither better nor worse.) Basically, we should check ourselves before we ridicule these films on the basis of irising, masking, et cetera and ESPECIALLY the exaggerated emotion and overblown gesturing of the actors. The conventions of the art of acting have, of course, their basis in that of the theatre, which preceded film, and where emphatic gesturing and stressed emotion was conventional in conveying story even to those seated in the back row.

All editorializing aside, Griffith's _Orphans of the Storm_ is a shining example of the director's masterful grasp of narrative cinema. The story is almost Dickensian in its feel, from its very beginning alternating between no less than five separate subplots, all of which become inextricably intertwined before the backdrop of the larger plot of the impending revolution in France. The acting performances are not, in fact, excessively overplayed, but are actually quite subtle and touching, especially those of the two orphans, the Gish sisters.

The visuals are stunning: the costumes and decor are lush and the recreation of late 18th century Paris is excellent. Most impressive to me is Griffith's expert command of montage, primarily through intercutting, in creating a engrossing story that, while complex in structure, is easily grasped. The film starts out on wobbly legs, but soon breaks into a steady gallop, raging through the glorious revolution to an admittedly predictable, yet satisfying conclusion. A grand achievement for one of the titans of early cinema: I give it a 9/10.