LILLIAN GISH AND RICHARD BARTHELMESS IN “BROKEN BLOSSOMS”
“What impressed us all,” writes Harry Carr (he had become Griffith’s assistant), “was that all her reactions were those of a child. Her wild terror in the closet scene—the finest example of emotional hysteria in the history of the screen—was the terror of a child.” Carr further remembers that she had been to several hospitals, to study hysteria, and to inquire how one would be likely to die, from beating.
Griffith was not quite sure what to do with “Broken Blossoms.” He believed it a great artistic success, but it was unusual, tragic: It might win great and instant approval; it might be an utter failure. Harry Carr and Arthur Ryal, the latter a well-known press agent, urged him to take it to New York. Griffith agreed, and took everybody with him. Morris Gest, who saw it at a private showing, “went quite mad” over it: “Greatest picture the world has ever seen—charge what you please for it. You can pack the house at any cost.” They agreed that two and three dollars would be the proper figure.
XV
“I WORK SUCH LONG HOURS”
“Broken Blossoms” was first shown as the initial offering of Griffith’s “repertory season” at the George M. Cohan Theatre, New York, May 13, 1919, before as distinguished an audience as had ever assembled in a Broadway theatre. There was not a hitch anywhere. The film was mechanically perfect; it was accompanied by special haunting music. The Chinese scenes showed an effect of pale blue lighting. Griffith, Lillian and Barthelmess were present. When the picture ended, its success assured, Morris Gest darted back stage, kicked over chairs, waved his arms, wept and laughed hysterically. The Sun, next evening, called it the “most artistic photoplay yet produced.” The Tribune said: “It is the most beautiful motion picture we have ever seen, or ever expect to see. When it was over, we wanted to rush up to everyone we met and cry: ‘Oh, don’t miss it, don’t miss it!’” There was a great deal more in the same strain, echoed by every critic. The elder Schildkraut said of it: “I have seen every actress of Europe and America during the last half century. Lillian Gish’s scene in the closet, where she is hiding in terror from her brutal father, is the finest work I have ever witnessed.”
And Lillian: if she had been no more than widely popular before, she was indubitably famous now. All day long, reporters and photographers waited outside her rooms at the Commodore. Invitations piled on her table. What a commotion!
“Life,” she wrote Nell, “is just one long photograph and interview.” Was she all they said? “Queen of the Silent Drama”? “Duse and Bernhardt of the Screen”? How could anyone be both? And why must she be anybody but herself? Still, it was rather fun to have them say those things; gratifying, too. Was she the little girl who such a brief while ago had lost her little telescope bag, running for a train, and slept on the station benches—tired, so tired?
She was tired, now. And there seemed no resting place. Almost immediately back in Los Angeles, she was writing Nell: