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for April 19 31
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Lillian Gish in her Erst, last, and only talkie, "One Romantic Night," with Marie Dressier. Lillian still has faith in silent pictures.
TEETOTALERS!
The 'lily maid' of many Griffith silent £lms, now a great success as a stage actress: Miss Gish.
Lights," will test the pull of views of two famous artists Chaplin and Lillian Gish
By
Rosalie Lieberman
THE talkies have become the Pied Piper of Hollywood. They made a few mechanical noises and the people of the movies were immediately charmed. They made some bigger and more elaborate noises and the people of the stage, practically en masse, followed. But one sensitive player didn't hear these sounds as music. Charlie Chaplin was not charmed. He continued to go his pantomimic way even though there was gold in that thar microphone. And for awhile it seemed that he would go the way alone. But now things are changed. He has a would-be companion in the determined person of Lillian Gish. For, she, too, has faith in silent pictures.
True, she made a talking picture. True, that film, "One Romantic Night" did something beneficial for her. It caught something of the real Gish personality and it smashed something of the false Gish tradition. For it helped to prove that lily maids could laugh as well as languish, and that even years of cinematic suffering did not necessarily make for a beaten person
Remember "The White Sister?" Lillian Gish and Ronald Colman made it a memorable motion picture.
ality. Yet, Lillian Gish does not believe in the talkies because they are not to her a pure medium. She cannot embrace this hybrid child, part stage, part motion picture, as her own. The mechanical imperfections, in themselves, loom up to her as something large not only because they record unnaturally the sounds that the voice in reality does make, but because they record as well, sounds that in life, do not come from the voice at all. She does not believe talkies artistically sound, and because of that, she cannot sincerely identify herself with them.
But her multitudinous admirer, the movie-going public, need not come to any hasty conclusion that Lillian Gish has stopped forever being an expressive shadow. She has not. Instead, she hopes for and believes in the re-birth of silent pictures. And with them lies her film future. But as strong as her hope is for the second coming of non-talkies, equally sure is her realization that the new silent film will differ from the old. If talkies obviously sound out their own faults, they point, too. a mean {Continued on page 106)