Thu 3 Sep 2015
The Wind (1928) is a high watermark (if you’ll excuse the pun) for both its star and director. Lillian Gish had played mostly innocent waifs in D. W. Griffith’s films. Those performances are among her best, but she hadn’t been given a chance to take on a wide range of roles.
When she signed with Irving Thalberg at MGM, she was given almost complete control over her career. Her first two films there were La Boheme (1926) and The Scarlet Letter (1926). Gish chose the directors (King Vidor and Victor Seastrom, respectively) and the leading men (John Gilbert and Lars Hanson, respectively), as well as the stories.
For the third film, she chose Seastrom and Hanson again. Based on Dorothy Scarborough’s novel of the same name, The Wind gave Gish an opportunity to play an innocent who becomes a more experienced, self-aware woman. It was her last and best silent performance.
Before immigrating to Hollywood, Swedish-born Victor Seastrom (a.k.a. Victor Sjöström) had established a reputation as one of Europe’s most talented film directors. His Swedish films often contrasted repressed (even obsessively stunted) characters with the elemental forces of nature. His best known American films — He Who Gets Slapped, The Scarlet Letter, and The Wind — also deal with repression and suffering.
Despite the somber plotlines, Seastrom’s films are breathtakingly beautiful in their depiction of the natural world. Seastrom seems to be saying that human pettiness means little when set against the grander scale of nature. Repression of one’s own nature, or stifling the nature of others, is viewed as contrary to the natural order of things.
Repression versus nature is the central theme of The Wind. Gish is perfectly cast as an innocent who is expected to conform to the base and selfish desires of those around her. As her character matures, Gish handles the transitions with self-assurance, while still retaining enough naiveté to make the changes appear convincing.
Few films are able to portray nature as such a tangible presence, as The Wind is able to do. The wind and sand are as much a part of the story as any of the characters. I can’t think of any other films, with the exception of two Japanese movies from 1964 (Woman in the Dunes and Onibaba), where the story, characters, and location are as intricately connected for the entire length of the film.
(1928; directed by Victor Seastrom; cable)
Saturday, October 3 at 8:00 p.m. on Turner Classic Movies