62 reviews
This is quite simply one of the handful of greatest achievements in the history of visual storytelling. There are images as fresh, as inventive as any you will ever see. You may find some of Gish's emoting a little over the top, but immediately there follow moments when she is as subtle and complex as anyone who came after her. She did, after all, invent screen acting as we now know it. One may wish for the original ending Gish and Sjostrom wanted; but the final images as re-shot were still created by artists at the height of their respective powers, and are memorable in their own right. The desert wind lives and howls in this film, as it has done only rarely in films by John Ford and David Lean. Anyone who doubts that cinema is art has never seen The Wind.
- gayspiritwarrior
- Apr 2, 2005
- Permalink
Lillian Gish's legendary career was nearly as lengthy as her life. Time and time again, she has shown audiences that she was truly one of the finest actresses who ever lived. A perfect example of her power and artistry is in "The Wind".
Miss Gish plays "Letty", a young girl from Virginia who moves to her cousin's house on the wild, open plains of Texas. The plot is very interesting and very fluid. Miss Gish is wonderful as usual (the sequence of events at the end of the movie is among the finest performances on film) but the real star of the movie is Swedish heartthrob Lars Hanson. A real delightful performance, with real charisma.
A must-see film that deserves more recognition.
Miss Gish plays "Letty", a young girl from Virginia who moves to her cousin's house on the wild, open plains of Texas. The plot is very interesting and very fluid. Miss Gish is wonderful as usual (the sequence of events at the end of the movie is among the finest performances on film) but the real star of the movie is Swedish heartthrob Lars Hanson. A real delightful performance, with real charisma.
A must-see film that deserves more recognition.
- Shelly_Servo3000
- Aug 15, 2002
- Permalink
An awesome, dark & atmospheric film. Gish is superb as the fragile Letty driven to the brink of madness by the incessant wind whipping up the sand. Her portrayal, with her wide staring eyes & tensing hands as the madness threatens to overwhelm her is stunning. The film takes its time to establish its characters, with a constant backdrop of the menace of the environment & also the danger of violence & the descent into madness, building to a thundering & almost unbearably tense experience with the actual sand storm itself. A true classic of the silent era capturing a performer at the peak of her powers-the image of Letty staring wide eyed through the window as the sand uncovers the body will stay with you.
- kester_gillard
- Feb 13, 2005
- Permalink
The outstanding atmosphere makes this classic melodrama especially memorable. The story and the acting would have made a pretty good movie by themselves, but it is "The Wind" itself that makes it something more. Not only is the constant presence of the wind a well-conceived figurative parallel to the events in the characters' lives, but making it work on the screen was also a remarkable technical achievement for its era.
Lillian Gish is deservedly praised for her role as Letty, a young woman from the east who travels to a strange and unforgiving region. This is the kind of role that Gish always seemed born to play. But Lars Hanson also does an excellent job in an even more difficult role. In order for the story to work, Hanson has to make his character fully sympathetic to the audience, while at the same time making it plausible that Gish's character does not care for him very much.
It's still very impressive the way that the powerful prairie winds are made such an indispensable part of the movie. It must have involved a great deal of work and sacrifice to achieve such realism without fancy technology. And it is masterful the way that the howling, never-ceasing winds are used to parallel the conflicts among the characters. This is one of the fine classics of the silent era that should not be missed.
Lillian Gish is deservedly praised for her role as Letty, a young woman from the east who travels to a strange and unforgiving region. This is the kind of role that Gish always seemed born to play. But Lars Hanson also does an excellent job in an even more difficult role. In order for the story to work, Hanson has to make his character fully sympathetic to the audience, while at the same time making it plausible that Gish's character does not care for him very much.
It's still very impressive the way that the powerful prairie winds are made such an indispensable part of the movie. It must have involved a great deal of work and sacrifice to achieve such realism without fancy technology. And it is masterful the way that the howling, never-ceasing winds are used to parallel the conflicts among the characters. This is one of the fine classics of the silent era that should not be missed.
- Snow Leopard
- Mar 20, 2002
- Permalink
I've watched The Wind several times, and I am convinced that it is one of the greatest movies ever. It is certainly the best silent western, and Lillian Gish has never been so profound as she is here.
What lifts it to the rank of a masterpiece is the passion of the direction and camera-work, and it certainly shows the advantage in having a mature artist like director Victor Sjöström. The central character is, as promised, the wind, and the raw power of nature supersedes the melodrama. You become engulfed in the tempests and hurricanes, and it is only to easy to understand that they might drive the young lady mad.
Lillian Gish also does a magnificent job; her usual overacting is actually appropriate for this role, as the powerful cinematic images have established the likeliness that she is falling to pieces. This surely has to be her greatest performance. Dorothy Cumming is also equally powerful as the embittered "other woman", one of the most evil characters to be found in a western. The other actors are adequate and satisfying without rising to the level of genius. Their acting is natural and unforced, unlike most silents.
It definitely gains from being a silent movie, all that dialogue would become a distraction if we had to listen to it. It helps that Thames Silents Orchestra has composed a beautiful and moving soundtrack, one that would sound good on a CD recording.
If you have any appreciation for silent film, rush out and get this one today!
PS Everyone seems to hate the studio-imposed ending, including Gish herself. Well, they are wrong! The Wind was going to end with Gish escaping the bad guy's advances by fleeing into a sandstorm and perishing...typical Victorian tragic melodrama, the sort of thing spoofed by Chaplin and other comedians.
What we get instead is considerably more complex and interesting, and contains some of the best scenes in the movie. I won't give the credit to the studio execs who demanded the revised ending; obviously, Sjöström was a genius who knew how to work wonders with whatever material he was given.
What lifts it to the rank of a masterpiece is the passion of the direction and camera-work, and it certainly shows the advantage in having a mature artist like director Victor Sjöström. The central character is, as promised, the wind, and the raw power of nature supersedes the melodrama. You become engulfed in the tempests and hurricanes, and it is only to easy to understand that they might drive the young lady mad.
Lillian Gish also does a magnificent job; her usual overacting is actually appropriate for this role, as the powerful cinematic images have established the likeliness that she is falling to pieces. This surely has to be her greatest performance. Dorothy Cumming is also equally powerful as the embittered "other woman", one of the most evil characters to be found in a western. The other actors are adequate and satisfying without rising to the level of genius. Their acting is natural and unforced, unlike most silents.
It definitely gains from being a silent movie, all that dialogue would become a distraction if we had to listen to it. It helps that Thames Silents Orchestra has composed a beautiful and moving soundtrack, one that would sound good on a CD recording.
If you have any appreciation for silent film, rush out and get this one today!
PS Everyone seems to hate the studio-imposed ending, including Gish herself. Well, they are wrong! The Wind was going to end with Gish escaping the bad guy's advances by fleeing into a sandstorm and perishing...typical Victorian tragic melodrama, the sort of thing spoofed by Chaplin and other comedians.
What we get instead is considerably more complex and interesting, and contains some of the best scenes in the movie. I won't give the credit to the studio execs who demanded the revised ending; obviously, Sjöström was a genius who knew how to work wonders with whatever material he was given.
- Prof_Lostiswitz
- Jun 30, 2004
- Permalink
Really awesome silent film about a young woman who finds herself at the mercy of people who use and abuse her. With no way to get home, stranded in the mojave desert, Lillian Gish has maybe her best role. The special affects are astounding. The ending is very poor, however. Lillian Gish herself talks about how they insisted a sad ending would ruin her career, even though her films all had sad endings in the past and she was a huge star! She herself, hated the ending they made. Just ignore it and think about how great the whole rest of the film is!
...to the world of the silent era of movies. A most marvellous movie, beautifully acted and directed, even with the sappy ending. Victor Sjostrom directs this movie beautifully and it was a shame he never made another English language movie. Also a shame is that the incredibly handsome talented and charismatic Lars Hanson returned to Sweden when talking pictures emerged, his performance as Lige is incredible and he steals every scene he is in with Lillian Gish, no wonder she hand picked him for the role, in the wedding night sequence he just breaks your heart as he realises his marriage is a sham. Now, time to find a copy of "The Scarlet Letter", my holy grail of movies, if it's half as good as "The Wind" then it'll be more than worth the wait.
- Damfino1895
- Feb 21, 2005
- Permalink
'The Wind' is something of a pot-boiler. Lillian Gish goes to stay with her cousin in the country (a place where the wind constantly blows, storms boil, and cyclones attack). But jealousy and her own naivety cause problems for her - that and a charming stranger she meets on the train into her destination.
The wind itself is a major character in this film, causing havoc, covering up secrets, coming into houses, distracting, dissolving, and influencing all outcomes. When Gish's character is railroaded into marriage with a man she can't love, we shouldn't be surprised, nor should the main events leading to the film's conclusion be unexpected.
Beautifully shot by Seastrom and a wonderful performance from Gish help bring this film out from the classification of usual silent adaptations. It works well and even with an ending not originally as written, stands up after all this time.
The wind itself is a major character in this film, causing havoc, covering up secrets, coming into houses, distracting, dissolving, and influencing all outcomes. When Gish's character is railroaded into marriage with a man she can't love, we shouldn't be surprised, nor should the main events leading to the film's conclusion be unexpected.
Beautifully shot by Seastrom and a wonderful performance from Gish help bring this film out from the classification of usual silent adaptations. It works well and even with an ending not originally as written, stands up after all this time.
What struck me most about this film is how it achieved by purely visual means to evoke the threatening nature of the environment in which the female lead (Letty Mason, played by Lillian Gish) finds herself. The way the wind drives the sand and pushes against windows and doors and the very walls of the cabin makes it look and feel truly frightening. Lillian Gish is fantastic as an initially weak young woman who arrives in this environment as a total stranger, is hated by a woman on whom she depends and deceived by a man who (seemingly) offers to marry her, but who nevertheless finds inner strength in the end. 'The Wind' is a truly haunting film with an optimistic ending. Highly recommended!
- Philipp_Flersheim
- Jan 9, 2022
- Permalink
- JoeytheBrit
- Mar 11, 2008
- Permalink
Lillian Gish plays her usual virginal character thrown into adverse and unjust circumstances, but here she does so much with the part as we watch her slowly unravel and lose her mind. She plays Letty, a girl from Virginia who comes to live with relatives in a dust bowl town. The atmosphere into which she travels doesn't make sense in many ways. The people there supposedly make their living from cattle ranching, but with the constant sandstorms I don't see how anything is supposed to survive in such an environment. However, that is not really the point. The constant wind and storms are just metaphors for Letty's own mental state and feeling of entrapment. Her cousin's wife is hostile to her from the start, convinced that Letty wants to take her husband away from her, and eventually forces her out of the home. As a result she marries a man she doesn't love, and once this is clear to him he accepts the situation and makes it a goal to raise enough money to send Letty back to Virginia where she will be happy. On top of this there is the constant specter of a wealthy married man who wants to take Letty's virtue for the recreation of it all.
The visual work on this film is spectacular, much like Murnau's "Sunrise" except in reverse - this film starts out on an upbeat note with Letty looking forward to the new direction her life has turned, and it being all downhill from there. Thus we come to the familiar topic of the abrupt upbeat ending and how it didn't make any sense in the context of the rest of the film. It was an early example of studio suits interfering with the artistic vision of the filmmakers, and so upset director Victor Sjostrom that he never directed another film in America.
Like Murnau's "Sunrise" and "The Crowd", 1928's "The Wind" is an example of silent film-making at its peak. This level of art in movies would be lost at the dawn of sound until the problems with the static camera could be overcome and the novelty of sound wore off to the extent that plot and meaningful dialog became important. The first problem - technical - was remedied much more quickly than the second problem, which was largely a matter of psychology and experience.
Highly recommended for silent film fans.
The visual work on this film is spectacular, much like Murnau's "Sunrise" except in reverse - this film starts out on an upbeat note with Letty looking forward to the new direction her life has turned, and it being all downhill from there. Thus we come to the familiar topic of the abrupt upbeat ending and how it didn't make any sense in the context of the rest of the film. It was an early example of studio suits interfering with the artistic vision of the filmmakers, and so upset director Victor Sjostrom that he never directed another film in America.
Like Murnau's "Sunrise" and "The Crowd", 1928's "The Wind" is an example of silent film-making at its peak. This level of art in movies would be lost at the dawn of sound until the problems with the static camera could be overcome and the novelty of sound wore off to the extent that plot and meaningful dialog became important. The first problem - technical - was remedied much more quickly than the second problem, which was largely a matter of psychology and experience.
Highly recommended for silent film fans.
The Wind is a story about a young woman who comes to the west in order to live with a relative, and finds that conditions in this part of the country aren't all that hospitable and sometimes the people aren't either. I found the struggles of Letty to be fully engaging, even if I kept wondering why she didn't run away and return to her life in the east. This movie takes you on an emotional roller coaster as there are some humorous moments, some frightening moments, and even a bit of romance as well. I genuinely didn't know where the journey of this film would end up, and part of that is because the customs and way of life back then are different from what we have now. For instance, the laissez-faire way they get engaged was quite strange to me. I was willing to go with it because the story takes place so long ago that I just can't relate, but it still felt weird.
I tend to think that they exaggerated the mental anguish in The Wind. I can understand a person being a bit crazed from dealing with the isolation and extreme weather conditions in this Old West town. However, the seemingly short amount of time it takes the protagonist to go from fun-loving to freaked-out felt a little crazy. Also, while I recognize this is probably more of a symptom of the silent film era where you needed to rely more on big performances and extreme expressions to convey what is happening without needing so much dialogue, Lillian Gish looks almost like a caricature of a crazy person. Finally, the ending felt a bit too convenient, and I'd argue it might be sending the wrong messages. However, for the time it probably works just fine. Overall, I think The Wind is a solid silent film, and one that has a well-told story that I enjoyed.
I tend to think that they exaggerated the mental anguish in The Wind. I can understand a person being a bit crazed from dealing with the isolation and extreme weather conditions in this Old West town. However, the seemingly short amount of time it takes the protagonist to go from fun-loving to freaked-out felt a little crazy. Also, while I recognize this is probably more of a symptom of the silent film era where you needed to rely more on big performances and extreme expressions to convey what is happening without needing so much dialogue, Lillian Gish looks almost like a caricature of a crazy person. Finally, the ending felt a bit too convenient, and I'd argue it might be sending the wrong messages. However, for the time it probably works just fine. Overall, I think The Wind is a solid silent film, and one that has a well-told story that I enjoyed.
- blott2319-1
- Apr 4, 2021
- Permalink
If you want to know how powerful, lyrical and emotive silent movies could be in their last days, just see Murnau's "Sunrise" and this absolute masterpiece, "The Wind". In both you quickly forget the absence of sound and come to enjoy it. Without voices' distraction, you're able to full appreciate the beautiful direction and photographic work, as well as Lilian Gish's wonderful interpretation - she should have won the first Oscar for best actress on a tie with Janet Gaynor. 1927 could be the last year for silent movies yet it was the greatest one, so that one wonders along with current reviewers if talkies were not a regress rather than a progress, after all.
- TENNYSON-1
- Jun 17, 2002
- Permalink
A young girl moves out from Virginia to live with her cousin at Sweet Waters. She finds out that where she is heading, it is the Land of the Winds and that the wind there always blows and the sand is carried away with it. This wind is so vicious that people tend to loose their minds by it. Its ferocity "blows" away peoples' logic and they sleigh day by day into insanity, and this applies specially to women. Lillian Gish, who plays the young girl Letty, is a great actress who can really feel her part. She has such a great performance in this film that you can't help but bond with the young girl and you can really understand how she feels in every situation in the film. Her performance is just brilliant. Lars Hanson is the lead male actor and he too has a great performance that can stand beside hers. All the other cast was good as well. The director Victor Sjöström has done an excellent work with this film. I really wish I could somehow see the original ending of this film as well. In my opinion, this film is really brilliant. Never forget what the people went trough in those times to create such magnificent films.
- morrigan1982
- Jul 12, 2009
- Permalink
A young girl (Lillian Gish) goes to live with her cousin, but finds herself to be an unwelcome guest. To escape from her cousin's evil wife, she marries against her will. However, the harsh solitude of country life, and the amazing strength of the wind, almost sends her to insanity. An amazingly effective film, which definately proves that Silent Movies are the highest form of cinematic expression!!!
- sweetiedarling
- Jul 31, 2001
- Permalink
In an isolated farm in the desert of the West, a woman is the victim of an obnoxious aggressor, whom she is forced to kill. One of the most beautiful silent films made in the United States by the Swedish director Victor Sjöström. The oppressive climate creates an enduring memory, as does the restless composition of Lilian Gish.
- lionel.willoquet
- Sep 15, 2001
- Permalink
The American period of Victor Sjöström was not a great commercial success (in America he called himself Seastrom). Nevertheless artisticly he made a great film with "The wind".
As the title suggests the elements play a big role in this film, especially the ever blowing wind. The film was made in the Mojave dessert and oftentimes the wind had to be induced artificially, a gigantic operation in those days.
The film is also about the difference between the big city and the country side. In this respect it resembles "City girl" (1930, Friedrich Wilhelm Murnau). In "City girl" however the main characters idealize the countryside, with a disappointmend following. In "The wind" the main characters are aware of the rough aspects of the countryside, to be surprised by its intensity nevertheless.
The film is also interesting because of the role of Lillian Gish. Lillian Gish is a big name in the early history of film. She is in particular known for her roles in "Intolerance" (1916, D. W, Griffith) and "The night of the hunter" (1955, Charles Laughton). In the first mentioned film she mainly rocks the baby in between the episodes. In "The night of the hunter" she wobbles in her rocking chair, a riffle in her hand. For those who want to see Lillian Gish doing a serious piece of acting: watch "The Wind".
I would like to call attention to a scene in which the director in my opinion has portrayed a quarrel in a very innovative way. After the quarrel the two lovers are in seperate rooms and are walking back and forth in agitation. The only thing we see are two pairs of shoes.
Last but not least the ending scene reminded me very much of the ending of "The searchers" (1956, John Ford). In "The searchers" a person walks very demonstratively through the door to the outside. In "The wind" the person walks no less demonstratively insidse.
As the title suggests the elements play a big role in this film, especially the ever blowing wind. The film was made in the Mojave dessert and oftentimes the wind had to be induced artificially, a gigantic operation in those days.
The film is also about the difference between the big city and the country side. In this respect it resembles "City girl" (1930, Friedrich Wilhelm Murnau). In "City girl" however the main characters idealize the countryside, with a disappointmend following. In "The wind" the main characters are aware of the rough aspects of the countryside, to be surprised by its intensity nevertheless.
The film is also interesting because of the role of Lillian Gish. Lillian Gish is a big name in the early history of film. She is in particular known for her roles in "Intolerance" (1916, D. W, Griffith) and "The night of the hunter" (1955, Charles Laughton). In the first mentioned film she mainly rocks the baby in between the episodes. In "The night of the hunter" she wobbles in her rocking chair, a riffle in her hand. For those who want to see Lillian Gish doing a serious piece of acting: watch "The Wind".
I would like to call attention to a scene in which the director in my opinion has portrayed a quarrel in a very innovative way. After the quarrel the two lovers are in seperate rooms and are walking back and forth in agitation. The only thing we see are two pairs of shoes.
Last but not least the ending scene reminded me very much of the ending of "The searchers" (1956, John Ford). In "The searchers" a person walks very demonstratively through the door to the outside. In "The wind" the person walks no less demonstratively insidse.
- frankde-jong
- May 11, 2020
- Permalink
Perhaps it's a difference of working with an American crew, including U. S. cinematographer John Arnold, rather than his fellow Swedes and specifically regular collaborator Julius Jaenzon. One way or another it's safe to say that this picture looks a smidgen different from some of Victor Sjöström's earlier works like 'A man there was' or 'The outlaw and his wife.' There's a slight warm haze to the fundamental image that notably contrasts with the cold clarity of the man's other titles, and at that, it bears an appearance that's right in line with contemporary Hollywood fare. Yet if on some level the artistry we expect from Sjöström is adjoined with a tinge of commonness, by and large 'The wind' fits in neatly with those other pictures of his we know and love. There's significant emphasis on the surrounding environs here, and unyielding nature, just as the wilderness itself, or the sea, took on extraordinary life of their own in films preceding this one. In this case the effects (special or visual) of fierce, blowing wind in a rather desolate setting provide a particularly dour, unwelcoming tone, conjuring dire atmosphere and thriller vibes as protagonist Letty finds adjustment to Texan life difficult, as some individuals notably bear mixed or less than neighborly feelings about the newcomer, and as she struggles more and more in her surroundings. To whatever extent Sjöström explored human complexity elsewhere in his oeuvre, the treatment here feels extra harsh, more than a little gritty, and possibly outright bleak - and wholly delicious as a viewer as the tale gradually becomes altogether unnerving. I definitely expected to enjoy this, but that five letter word ultimately feels wildly insufficient; frankly, as the picture goes on it proves itself to be one of the greatest movies ever made.
If some of the filmmaker's other features come off with a certain poetic sensibility, 'The wind' recalls stark prose from the likes of Cormac McCarthy, where the setting is an echo of the drama to unfold. Furthermore, as was very much true in the above noted works, the near-constant howling tempest quite becomes a character unto itself with palpable, terrible presence throughout the course of events. These notions are rather reflected across the board in many facets of the production, not least Sjöström's calculated direction that's fixed with an air of dark vibrancy as he orchestrates shots and scenes. Why, there are select instances peppered throughout - precise shot composition, and or guidance of the cast - that are so incredibly brilliant that they alone elevate the title to new heights of excellence. Together with Conrad A. Nervig's tight editing, sometimes meticulous use of lighting, some extra smart camerawork, and the effects, as the length stretches on and such singularly stellar moments occur more often, I rather feel as if 'The wind' handily cements itself as one of the utmost exemplars of cinema. With all that said, at the same time Sjöström also leaves ample room to let his cast really explore their characters and each moment as they will. For example, the severity Dorothy Cumming bears as Cora almost a little shocking, especially compared to the more varied comportment of her costars and other characters. At the same time, in his prominent part as Lige, Lars Hanson dances on a needlepoint of hurt, hope, and hardness that distinctly resonates. Montagu Love also easily stands out for the underhanded smarm with which he carries himself as Wirt, and as if everyone before the camera wasn't already giving a fine performance one to the next, he almost upstages the star.
Still, by all means it's titanic icon Lillian Gish who earns her reputation in the spotlight as Letty. I can't claim to have seen a great many of her movies to date, yet there's no question in my mind that her acting here is surely one of the best shows she had ever given. In a little more than one hour she demonstrates outstanding range and personality, the type of unremitting strength that has defined some of the best players and performances to which audiences have ever been treated. More than has often been true elsewhere in the silent era, with merely the subtlety of her gaze, facial expressions, or body language Gish communicates a universe of emotion and humanity that's quite easy to get lost in. (This is indisputably the case not least of all in those cases mentioned above when Sjöström's direction achieves a huge spark of potency; Gish emphatically has a hand in that, too.) In fact, between how Letty is written, the overall tenor of 'The wind,' and Gish's acting, there's a robust element of psychological drama laid over top of the feature. While not every such title is guaranteed to go well, there's no quicker way to earn my favor, and the endeavor here is simply phenomenal. Gish alone carries the lion's share of the effort, but she is further bolstered by marvelous hair and makeup work, and deliberate costume design, that augments the power of her performance and amplifies the profundity of Letty's experiences. If the same is any less true of the production design, art direction, and stunts and other effects, it's only because they do not center Gish in the exact same way. All the same, with our leading lady at the forefront, the end result of all this is a romantic drama that feels less romantic and more visceral and deeply, intimately impactful.
As if to accentuate the matter, there is a genuinely happy ending to the proceedings. Yet on account of the overall grim ambience projected throughout, the delicate artistic touches of direction, editing, and cinematography that lend to that ambience, and above all the core performance that makes it flesh and blood, it doesn't necessarily feel like a happy ending. The first comparison to come to mind is Darren Aronofsky's 2010 masterpiece 'Black Swan'; all seems to end well, more or less, but the question hangs ponderously and ominously in the air of the state Letty is in after the entirety of her harrowing journey to this point. If indeed this is the more lighthearted conclusion that neither Gish nor Sjöström intended or preferred, I can scarcely imagine how 'The wind' would have looked if the true ending had been filmed.
What more is there to say? Is there anything here that is not perfect? To whatever marginal extent one might look at this and see a characteristic Hollywood film in the fundamentals of its construction, any wisps of commonness are quite forgotten well before the ending rolls around. In whatever proportions credit for the writing belongs to author Dorothy Scarborough or screenwriter Frances Marion, either way the product is exceptional in the details of the intertitles, the very real, believable, complex characterizations, the haunting scene writing, and the raptly compelling, enormously satisfying narrative. As much as I've enjoyed Sjöström's direction elsewhere, his contribution here might somehow be the best I've seen yet. While Gish stands out well above her co-stars, every performance herein is wholly unimpeachable. All the contributions of those behind the scenes - every one, in every way - is exquisite. In totality 'The wind' is both momentously artistic, and staggering and vicious in its storytelling on a major, personal level. As a full-length feature of Sjöström, of the U. S. film industry, or of any genre whose label one wishes to apply, this is not just superior but roundly superlative, among the very best of the very best. Once more, I anticipated I'd like this, but I cannot overstate just how terrific a movie it really is. There are precious few titles I could ever recommend as highly: 'The wind' is a must-see classic for one and all.
If some of the filmmaker's other features come off with a certain poetic sensibility, 'The wind' recalls stark prose from the likes of Cormac McCarthy, where the setting is an echo of the drama to unfold. Furthermore, as was very much true in the above noted works, the near-constant howling tempest quite becomes a character unto itself with palpable, terrible presence throughout the course of events. These notions are rather reflected across the board in many facets of the production, not least Sjöström's calculated direction that's fixed with an air of dark vibrancy as he orchestrates shots and scenes. Why, there are select instances peppered throughout - precise shot composition, and or guidance of the cast - that are so incredibly brilliant that they alone elevate the title to new heights of excellence. Together with Conrad A. Nervig's tight editing, sometimes meticulous use of lighting, some extra smart camerawork, and the effects, as the length stretches on and such singularly stellar moments occur more often, I rather feel as if 'The wind' handily cements itself as one of the utmost exemplars of cinema. With all that said, at the same time Sjöström also leaves ample room to let his cast really explore their characters and each moment as they will. For example, the severity Dorothy Cumming bears as Cora almost a little shocking, especially compared to the more varied comportment of her costars and other characters. At the same time, in his prominent part as Lige, Lars Hanson dances on a needlepoint of hurt, hope, and hardness that distinctly resonates. Montagu Love also easily stands out for the underhanded smarm with which he carries himself as Wirt, and as if everyone before the camera wasn't already giving a fine performance one to the next, he almost upstages the star.
Still, by all means it's titanic icon Lillian Gish who earns her reputation in the spotlight as Letty. I can't claim to have seen a great many of her movies to date, yet there's no question in my mind that her acting here is surely one of the best shows she had ever given. In a little more than one hour she demonstrates outstanding range and personality, the type of unremitting strength that has defined some of the best players and performances to which audiences have ever been treated. More than has often been true elsewhere in the silent era, with merely the subtlety of her gaze, facial expressions, or body language Gish communicates a universe of emotion and humanity that's quite easy to get lost in. (This is indisputably the case not least of all in those cases mentioned above when Sjöström's direction achieves a huge spark of potency; Gish emphatically has a hand in that, too.) In fact, between how Letty is written, the overall tenor of 'The wind,' and Gish's acting, there's a robust element of psychological drama laid over top of the feature. While not every such title is guaranteed to go well, there's no quicker way to earn my favor, and the endeavor here is simply phenomenal. Gish alone carries the lion's share of the effort, but she is further bolstered by marvelous hair and makeup work, and deliberate costume design, that augments the power of her performance and amplifies the profundity of Letty's experiences. If the same is any less true of the production design, art direction, and stunts and other effects, it's only because they do not center Gish in the exact same way. All the same, with our leading lady at the forefront, the end result of all this is a romantic drama that feels less romantic and more visceral and deeply, intimately impactful.
As if to accentuate the matter, there is a genuinely happy ending to the proceedings. Yet on account of the overall grim ambience projected throughout, the delicate artistic touches of direction, editing, and cinematography that lend to that ambience, and above all the core performance that makes it flesh and blood, it doesn't necessarily feel like a happy ending. The first comparison to come to mind is Darren Aronofsky's 2010 masterpiece 'Black Swan'; all seems to end well, more or less, but the question hangs ponderously and ominously in the air of the state Letty is in after the entirety of her harrowing journey to this point. If indeed this is the more lighthearted conclusion that neither Gish nor Sjöström intended or preferred, I can scarcely imagine how 'The wind' would have looked if the true ending had been filmed.
What more is there to say? Is there anything here that is not perfect? To whatever marginal extent one might look at this and see a characteristic Hollywood film in the fundamentals of its construction, any wisps of commonness are quite forgotten well before the ending rolls around. In whatever proportions credit for the writing belongs to author Dorothy Scarborough or screenwriter Frances Marion, either way the product is exceptional in the details of the intertitles, the very real, believable, complex characterizations, the haunting scene writing, and the raptly compelling, enormously satisfying narrative. As much as I've enjoyed Sjöström's direction elsewhere, his contribution here might somehow be the best I've seen yet. While Gish stands out well above her co-stars, every performance herein is wholly unimpeachable. All the contributions of those behind the scenes - every one, in every way - is exquisite. In totality 'The wind' is both momentously artistic, and staggering and vicious in its storytelling on a major, personal level. As a full-length feature of Sjöström, of the U. S. film industry, or of any genre whose label one wishes to apply, this is not just superior but roundly superlative, among the very best of the very best. Once more, I anticipated I'd like this, but I cannot overstate just how terrific a movie it really is. There are precious few titles I could ever recommend as highly: 'The wind' is a must-see classic for one and all.
- I_Ailurophile
- Mar 1, 2023
- Permalink
Not a big fan of silent films...kinda like a Rolling Stones concert without Jagger...and an even smaller fan of silent films like this one with tacked on happy endings.
One of the last major Hollywood studio silent movies released was November 1928 "The Wind." Silent films dribbled through the major studios' supply chain for at least another year, where they were shown especially in Europe and in smaller, American rural towns whose theaters weren't wired for sound yet. Yet MGM's "The Wind" today is wrapped around a bit of nostalgia for an era that was quietly ending. Film historians label the film as the last great silent Hollywood movie. It was director Victor Sjostrom's as well as legendary actress Lillian Gish's final silent.
When Gish signed with MGM in 1925, she negotiated in her contract she would receive a lesser salary in lieu of greater control in her productions. That meant she could select and spend more on the scriptwriters, directors and actors working alongside her. Gish was a very comfortable with her on-set relationship with Sjostrom, the Swedish director who had been enticed to come to America in the mid-1920s. Lillian selected Dorothy Scarborough's 1925 book "The Wind," a rather racy-themed story filled with innuendo that MGM head producer Irving Thalberg approved. But the studio decided to hold back the film, completed in 1927, because of its implied rape scene. It decided to release the movie at the cusp when everyone was anticipating "talkies."
The critics hailed the artistic merits of "The Wind." The Guardian in a 1999 review praised the movie stated, "In America Sjostrom's three most famous works, 1924's "He Who Gets Slapped," 1926's "The Scarlet Letter" and 1928's "The Wind," each dealt with human suffering. The Wind is almost certainly the best." In screening the film, the Museum of Modern Art said, "What makes The Wind such an eloquent coda to its dying medium is Sjostrom's and Gish's distillation of their art forms to the simplest, most elemental form: there are no frills."
"The Wind" focuses on Letty Mason (Gish), traveling to Texas to live with her cousin's family. She meets on the train Wirt Roddy (Montagu Love), who takes an interest in her. She gets picked up by two of her cousin's neighbors living 15 miles from him, Lige Hightower (Lars Hanson) and old, crusty Sourdough (William Orlamond). Everyone falls for Letty, and there's tension throughout as even Cora (Dorothy Cumming), the cousin's wife, is super jealous of her staying under the same roof.
One of the most famous scenes in all silent movies unfolds as Letty is left alone in the cousin's house with the wind blowing like no tomorrow. Everything rattles, loose floorboards are banging, it's absolutely pandemonium before lustful Wirt, who is married, visits the house. A vision of a white horse is seen outside, symbolizing what is taking place inside as she tries to thwart his advancements.
Gish claimed the production was the most difficult she appeared in during her long acting career. Filmed in the Mojave Desert under searing hot 100-plus degree temperatures, the wind, generated by eight stationary aircraft stirring up the air with their propellers, forced the film crew to wear long-sleeved shirts, eye googles and greasepaint on their faces to protect their skin from the piercing sand and smoke. The locale was so scorchingly hot that Gish claims she scalded her palm on a handle outside the cabin when she opened the door. The wind is howling constantly throughout the movie. Scarborough's novel was set in Sweetwater, Texas, where heavy breezes consistently blow in this town smack-dab in the middle of the state. In fact, the area is known as the "Wind Turbine Capital of Texas," hosting one of the largest wind farms in Texas and is at the nexus of the leading wind power generation region in the Western Hemisphere.
When Thalberg gave the movie the green light to be released a year after "The Jazz Singer's" 1927 premier, he described "The Wind" to Lillian as a very artistic film. She took his description as a "veiled punch," knowing any silent 'artistic' film wasn't going to perform well at the box office. The MGM producer's prediction was correct. It lost $87,000, mainly because viewers were flocking to the talkies just released at the same time. However, since then, the American Film Institute recognizes its importance, receiving nominations in both the Top 100 Most Heart-Pounding Movies and the Top 100 Greatest American Movies.
When Gish signed with MGM in 1925, she negotiated in her contract she would receive a lesser salary in lieu of greater control in her productions. That meant she could select and spend more on the scriptwriters, directors and actors working alongside her. Gish was a very comfortable with her on-set relationship with Sjostrom, the Swedish director who had been enticed to come to America in the mid-1920s. Lillian selected Dorothy Scarborough's 1925 book "The Wind," a rather racy-themed story filled with innuendo that MGM head producer Irving Thalberg approved. But the studio decided to hold back the film, completed in 1927, because of its implied rape scene. It decided to release the movie at the cusp when everyone was anticipating "talkies."
The critics hailed the artistic merits of "The Wind." The Guardian in a 1999 review praised the movie stated, "In America Sjostrom's three most famous works, 1924's "He Who Gets Slapped," 1926's "The Scarlet Letter" and 1928's "The Wind," each dealt with human suffering. The Wind is almost certainly the best." In screening the film, the Museum of Modern Art said, "What makes The Wind such an eloquent coda to its dying medium is Sjostrom's and Gish's distillation of their art forms to the simplest, most elemental form: there are no frills."
"The Wind" focuses on Letty Mason (Gish), traveling to Texas to live with her cousin's family. She meets on the train Wirt Roddy (Montagu Love), who takes an interest in her. She gets picked up by two of her cousin's neighbors living 15 miles from him, Lige Hightower (Lars Hanson) and old, crusty Sourdough (William Orlamond). Everyone falls for Letty, and there's tension throughout as even Cora (Dorothy Cumming), the cousin's wife, is super jealous of her staying under the same roof.
One of the most famous scenes in all silent movies unfolds as Letty is left alone in the cousin's house with the wind blowing like no tomorrow. Everything rattles, loose floorboards are banging, it's absolutely pandemonium before lustful Wirt, who is married, visits the house. A vision of a white horse is seen outside, symbolizing what is taking place inside as she tries to thwart his advancements.
Gish claimed the production was the most difficult she appeared in during her long acting career. Filmed in the Mojave Desert under searing hot 100-plus degree temperatures, the wind, generated by eight stationary aircraft stirring up the air with their propellers, forced the film crew to wear long-sleeved shirts, eye googles and greasepaint on their faces to protect their skin from the piercing sand and smoke. The locale was so scorchingly hot that Gish claims she scalded her palm on a handle outside the cabin when she opened the door. The wind is howling constantly throughout the movie. Scarborough's novel was set in Sweetwater, Texas, where heavy breezes consistently blow in this town smack-dab in the middle of the state. In fact, the area is known as the "Wind Turbine Capital of Texas," hosting one of the largest wind farms in Texas and is at the nexus of the leading wind power generation region in the Western Hemisphere.
When Thalberg gave the movie the green light to be released a year after "The Jazz Singer's" 1927 premier, he described "The Wind" to Lillian as a very artistic film. She took his description as a "veiled punch," knowing any silent 'artistic' film wasn't going to perform well at the box office. The MGM producer's prediction was correct. It lost $87,000, mainly because viewers were flocking to the talkies just released at the same time. However, since then, the American Film Institute recognizes its importance, receiving nominations in both the Top 100 Most Heart-Pounding Movies and the Top 100 Greatest American Movies.
- springfieldrental
- May 19, 2022
- Permalink
The wind Story Of A Young Girl With Her Fear The Wind. I Think No Movie After Or Before That Make This Kind Of Emotions . In One Side Is Young Girl And Other Side Is The Wind , Every Time Wind Comes She Freak Out If You Want Classic Movie With Powerful Ending See The Wind And You Never Remorse , Victor Make A Great Movie And Acting Is Great Too. Just See The Wind You Get Every Thing Without Any Dialog .
- leonardonolan13755
- Sep 20, 2017
- Permalink
At the beginning of the last century, Viktor Sjöström was a major player in Swedish cinema. Something that soon attracted wide, international attention. So, in 1924 the director was invited to Hollywood to take charge of "He Who Gets Slapped" - the very first feature film at Metro-Goldwyn-Mayer. The result was a smash hit.
But in Tinseltown you're only as good as your latest movie. Soon, the studio asked Sjöström to film "The Wind", a project that forced the director to shoot for several weeks in the soaring heat of the Mojave Desert. And not only that. To simulate the severe weather conditions required by the story, the film company hired eight giant wind machines. These were used to create the devastating sandstorms that almost drove the film's young heroine insane. Lillian Gish, who played the lead role, later revealed that "The Wind" was one of the most challenging movies she had ever appeared in.
In the summer of 1927, Viktor Sjöström finished the shooting. He and producer Irving Thalberg were pleased with the result, but were in for a shock when high-ranking studio executives in New York saw the movie. They believed that the ending was too dark and ordered Sjöström to call in his actors again to do reshoots. It would take a full eighteen months before the Swedish director managed to complete a film that MGM's management could finally approve.
Unfortunately, the delay proved disastrous for "The Wind". During the time that Viktor Sjöström and his crew were recording a new ending for their film, "The Jazz Singer" was released in cinemas. And after this first so-called "talkie" made its triumphant march across the world, the public was only interested in movies with sound. "The Wind" therefore became a major bomb at the box office. Which also ended Viktor Sjöström's career in Hollywood. Disappointed, he returned to his native Stockholm, never to make another movie again.
But in Tinseltown you're only as good as your latest movie. Soon, the studio asked Sjöström to film "The Wind", a project that forced the director to shoot for several weeks in the soaring heat of the Mojave Desert. And not only that. To simulate the severe weather conditions required by the story, the film company hired eight giant wind machines. These were used to create the devastating sandstorms that almost drove the film's young heroine insane. Lillian Gish, who played the lead role, later revealed that "The Wind" was one of the most challenging movies she had ever appeared in.
In the summer of 1927, Viktor Sjöström finished the shooting. He and producer Irving Thalberg were pleased with the result, but were in for a shock when high-ranking studio executives in New York saw the movie. They believed that the ending was too dark and ordered Sjöström to call in his actors again to do reshoots. It would take a full eighteen months before the Swedish director managed to complete a film that MGM's management could finally approve.
Unfortunately, the delay proved disastrous for "The Wind". During the time that Viktor Sjöström and his crew were recording a new ending for their film, "The Jazz Singer" was released in cinemas. And after this first so-called "talkie" made its triumphant march across the world, the public was only interested in movies with sound. "The Wind" therefore became a major bomb at the box office. Which also ended Viktor Sjöström's career in Hollywood. Disappointed, he returned to his native Stockholm, never to make another movie again.