Coeurs du monde

'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

Representative of all the innocent HEARTS OF THE WORLD, two American families living in a picturesque French village experience the horror & devastation of the Great War.

This rarely seen film is the result of a somewhat surprising collaboration between the British government & genius American filmmaker D.W. Griffith. With the hideous World War still burning across Europe, the old men in Downing Street thought it would be well if filmed propaganda was produced which might help induce America into joining The Effort.

After his tremendous achievements with THE BIRTH OF A NATION (1915) & INTOLERANCE (1916), it was obvious that Griffith was the world's foremost cinematic director. A devout pacifist, he undertook the difficult challenge of turning battlefield horrors into a story suitable for the screen. That accomplished, Griffith actually took some of his cast & crew across the dangerous Atlantic to London (and a meeting with Prime Minister David Lloyd George) and then it was on to France for some quick filming at the front lines.

All of which proved unnecessary. Infuriated by Berlin's unrestricted use of submarine warfare, America declared war on Germany in April of 1917, months before HEARTS OF THE WORLD could be completed back in Hollywood.

While not as innovative or groundbreaking as its two celebrated predecessors, HEARTS OF THE WORLD can stand on its own merits. Filled with Griffith's special touches, its principle value exists in its revelation of his contemporaneous feelings about the War, even as the conflict still raged. He bestowed on it sequences as poignant and harrowing as any in his oeuvre. Who can forget Lillian Gish on her wedding day, driven mad by the bombardment, preparing to spend her bridal night alongside the corpse of her betrothed? Or the sight of three little boys secretly burying their dead mother in a cellar, so her body would not be disgraced by the enemy. Griffith assures scenes such as these are not easily banished from the viewer's memory.

Besides the numinous Miss Gish, appreciation should be extended to Bobby Harron as the film's stalwart hero; this fine young actor would die in 1920 of an accidental gunshot wound, not a suicide as is usually reported. Dorothy Gish plays a feisty, comedic role, giving the film a light touch at welcome intervals. Josephine Crowell & Kate Bruce are memorable as the two tragic mothers, both victims of the war.

Also appearing are a couple of stars in embryo: a young Sir Noël Coward is the extra pushing the wheelbarrow containing Miss Lillian's luggage in her first scene. Technical Supervisor Erich von Stroheim is easily recognizable as a bald German officer; he would eventually dominate Hollywood's silent films of the 1920's, using the full force of his own, rather bizarre, genius.

Special appreciation should be paid to the splendid cinematography of Billy Bitzer, who performed yeoman service for Griffith in several of his epics.

Hearts of the World (1917)

*** (out of 4)

D.W. Griffith's WW1 epic has two Americans (Robert Harron, Lillian Gish) living in France and falling in love. When the German's attack the man goes off to fight, which ends with devastating results. The actual making of this film is somewhat more interesting than the final product, although the movie is still good but several notches below The Birth of a Nation and Intolerance. After that epic 1916 film Griffith wanted to try something bigger and found that the British government was willing to give him full access to anything he wanted. Griffith wanted to shoot real battle scenes and that's what he did for the film and he nearly once again was killed doing so. The British paid for the film to be made in hopes that it would inspire America to join the war effert. As for the film, it has some brilliant moments but sadly the love story really brings things down, which was somewhat surprising since Griffith is usually good with the melodrama. Harron is decent in his role but not strong enough to carry the film. Gish on the other hands is terrific as usual as is her sister Dorothy. Erich von Stroheim plays one of the German's in charge. The battle scenes, a lot of them real WW1 footage, is the highlight of the film and like Griffith's previous two films, it's rather amazing to see everything play out. This is certainly some of the greatest battlefield scenes I've ever watched. There's also another terrific scene where Gish, fearing her love is dead, tries to find him in the trenches. Gish's walk mixed with the beautiful cinematography makes this an unforgettable scene. In the end the film is certainly flawed but the battle scenes make it worth at least one viewing.

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

HEARTS OF THE WORLD (Paramount/Artcraft, 1918), under personal direction by D.W. Griffith, which lives up to it's subtitle, "an old-fashioned play with a new fashioned theme," is an important contribution to the American silent screen. Known as a propaganda effort, Griffith brings forth his feelings towards war with opening inter-title: "God help the nation that begins another war of conquest of meddling. Brass bands and clanging sabers make fine music, but let us remember that there is another side of war. After all, does war settle any question? The south was divided - thousands of lives were sacrificed by the Civil War, yet did it really settle the black and white problem in this country?" Following the pattern of Griffith's controversial melodrama, THE BIRTH OF A NATION (1915), HEARTS OF THE WORLD, at two hours, is very much a recycling of that epic, moving its time frame from the Civil War South (1861-1865) to its more recent battleground of the World War (1914-1918), making this particular one something from the time capsule.

The narrative begins during the peaceful days of 1912 in an unnamed French village where two American families, the Hamiltons (Jack Cosgrove and Kate Bruce) and the Stephensons (Adolphe Lestina and Josephine Crowell) live in a double house on the Rue De La Paix (Street of Peace). Marie Stephenson (Lillian Gish), having just returned from her visit with her aunt in Rheims, and Douglas Gordon Hamilton (Robert Harron), an artist and poet just back from Paris, with three younger brothers (Marion Simmons, Francis Marion) and the littlest one (Ben Alexander) who worships him, the neighboring boy and girl eventually meet, start a courtship that turns to eternal love. On the day of their wedding, war is declared. Douglas enlists along with his friends, Cuckoo (Robert Anderson), and the village carpenter (George  Fawcett), calling themselves "The Three Musketeers." As Douglas leaves Marie to fight for France, so does Cuckoo, who has fallen in love with a street singer known as "The Little Disturber" (Dorothy Gish). As the men face uncertainties fighting in the trenches, the once peaceful village is taken over by Von Strohm (George Siegmann), leader of the enemy Germans who once lived in that village, not only has his regiment burn portions of it, but places the women to extreme measures working labor jobs, to be brutally whipped (namely Marie) when unable to fulfill their tasks. Part II, "Struggle of Civilization" soon follows.

In spite of its age, HEARTS OF THE WORLD is fine storytelling with many elements now associated by Griffith, from the development of his central characters (the Griffith trademark where families affectionately kiss on the mouth); to his attention to detail with the camera recording fine visuals of actual location footage around France, and inter-cutting between war on the front and survival in the village. The scene where the younger Hamilton boys taking it upon themselves to bury their dead mother ("No prayers, save childish tears") is highly effective and quite moving.  

With the large cast headed by Griffith's most frequent co-stars, Lillian Gish and Robert Harron, the center of attention is nearly drawn towards Lillian's sister, Dorothy. The Gish sisters, who share little screen time together, work remarkably well in their assigned roles. Lillian, an outstanding actress here in the manner of Mary Pickford sporting curly hair, starts off her girlish charms as the aggressor attracting the boy next door, maturing as the story progresses. Her most dramatic moment occurs following the death of her mother. Her facial change of emotions from disbelief to shock is realistically done. Under incapable hands, this scene would have been laughable. Another scene worth noting occurs later as Gish's character walks aimlessly through the battlefield only to find her wounded beloved (Harron), whom she mistakes as dead. As for Dorothy, she provides the lighter side to the story with her comedic flair as the flirtatious young girl who attracts men with a blink of an eye. At one point she forces herself upon the boy (Harron) the very moment to be spotted by the girl (Lillian) who loves him. Wearing a large beret over her very dark hair and sporting ordinary clothes, her role could very well be the predecessor to Renee Adoree's performance in King Vidor's epic war drama, THE BIG PARADE (MGM, 1925) or categorized as a predate of the high-spirited Clara Bow of the 1920s. Regardless, Dorothy Gish, an underrated actress whose many movies lack availability today, deserves praise for her work as "The Little Disturber."

Other members in support are include L. Lowery (The Deaf and Blind Musician); George Nichols (The German Sergeant); Erich Von Stroheim (The German Soldier); and Fay Holderness (The Innkeeper). Appearing briefly are Mary Gish (Lillian & Dorothy's mother); and future playwright/actor Noel Coward as a man with wheelbarrow.

With occasional revivals at New York City's Museum of Modern Art's film department, HEARTS OF THE WORLD was introduced to New York's own public television WNET, Channel 13, in September 1977, as part of its weekly series, "Films of Persuasion," the second movie following the premiere presentation of Griffith's BIRTH OF A NATION. Distributed to home video in 1991, with excellent piano score by William Perry from the Killiam Collection, HEARTS OF THE WORLD did have limited cable TV presentation on Turner Classic Movies "Silent Sunday Nights" where it premiered in January 2, 2000. Though presented on VHS, the two minute prologue prior to the movie showing D.W. Griffith filming in the British line of Cambrin, 50 yards from enemy lines, concluding with he shaking the land of prime minister David Lloyd George on 10 Downing Street, is not included in the TCM print.

Nearly forgotten, HEARTS OF THE WORLD deserves its place in cinema history, and certainly one to consider for film scholars and historians to view and study as one of the few movies from that era not to be lost to the world. (***)