Picture Play Magazine (Sep 1920 - Feb 1921)

Photo by Abbe DEEP-ROOTED in the traditions of the American stage is the "b'gosh" drama. This type of rural play, headed by such classics as "Way Down East," and "The Old Homestead." and runningdown the line to cruder copies of these, was prominently in vogue a decade or two ago. The term "b'gosh" was fastened on these plays rather condescendingly. It implied more than the mere expression of the amazed squire who exploded "b'gosh" at various moments throughout the play; it implied the squire's false whiskers, the villain in riding boots, the simpleton hero, the barnyard scene with its painted backdrop, and the becurled ingenue whose manicured finger nails reflected the footlights. It never was great art, but it had a deep and abiding appeal. It has remained for the motion picture to eliminate some of the "b'gosh" element from the rural drama. Under the magic of the camera the squire's whiskers have long since taken on an aspect of reality. The riding boots of the villain are not quite so obvious. Charles Ray and some few others have endowed the country heroes with a very sincere human note. The ingenue milks the cow in a real rural setting. The barnyard scene with its painted backdrop gives way to beautiful pastoral photographs. The camera reflects true rural life. "Way Down East" is a production in which D. W. Griffith has taken advantage of this refining influence of the camera on the rural melodrama. He has taken this old classic and turned out an astounding production, one which is already placed beside "The Birth of a Nation" in the elements of human interest, thrill, and 3 P V spectacular effect. It is Griffith's first "big" picture since "Hearts of the World." By it he demonstrates his right to be placed above all others of his craft as the wizard who knows the hearts of the majority of picturegoers, a right which during the past two years might justly have been questioned. But though Griffith nods at times and perhaps dozes a bit his reawakenings are marked by such epics as "Way Down East." So we can easily forgive him his little lapses. The first part of "Way Down East" concerns itself with the tragedy of the betrayal of Anna Moore by Lennox Sanderson, the city villain. It is melodramatic only in its fundamental situation. For the rest it is a brilliant characterization by Lillian Gish, who portrays the role of the girl. The persecuted heroine of the present production is by far the greatest role created by this actress. The heights to which she builds through her nervous, intensifying emotional ability are superb. Her romantic scenes, when she hears Sanderson's false avowal of love, and believes the mock marriage ceremonial true, are touched with a beautiful appeal. Her sudden awakening, the realization that the man she held most dear has betrayed her, are terrific. The depths of despair to which she sinks after the death of her baby — pitifully baptized by its frenzied mother — sound a note of tragedy that is tremendously potent. The second part of the story concerns itself with the development of Anna's real romance with David, the squire's son — a role played by Richard Barthelmess — who is shown with Miss Gish' in a scene from the play in the picture above. Here Griffith has trotted out many of the "b'gosh" incidents of the original play, and even exaggerated them. The comedy is rough and jars