Silent Film Sources - Reviews

A Romance of Happy Valley (1918)

R E V I E W

1919. D.W. Griffith. An Artcraft Picture. Released by Famous Players-Lasky Corp. 6 reels.

GRIFFITH'S SHORT STORY SERIES. Under Personal Direction of D.W. GRIFFITH.

Story by Captain Victor Marier. Photography by G.W. Bitzer.

CAST OF CHARACTERS In the order in which they appear: Lydia Yeamans Titus, Robert Harron, Kate Bruce, George Fawcett, Lillian Gish, George Nicholls, Adolph Lestina, Bertram Grassby, Porter Strong.

Griffith was not one of the most introspective directors, but this is an idealized, romanticized vision of Griffith's youth. A young man (played by Robert Harron), brought up on a rural Kentucky farm, is sick of driving a plow and dreams of the big city. Harron's mother (Kate Bruce, of course) tries to keep him with the power of religion. When the son finally leaves, his father curses him, while his mother wishes him well. The film gives weight to incidents over plot, and it is clear that Griffith does not intend for any of this to be taken too seriously. Harron's career goal in the city is to invent a toy frog that can swim, and although he has promised Gish that he would return in a year, it is eight years before his unannounced return- and naive, trusting Gish is still waiting.

The weakest part of the film (other than the plot devices) is Robert Harron. He is unable to make his character interesting nor to communicate his motivations. The weight of supporting the film is left to Lillian Gish, who is up to the task.

Once considered to be a lost film, the Museum of Modern Art recovered a print of this film in the Soviet Union in the 1970s. The intertitles were restored, and A Romance of Happy Valley turned out to be a significant film for Griffith, gently mocking the conventions and the lifestyle of rural life. It is especially welcome that minor events are presented without the world weary momentousness they received in Way Down East. The film features some of Billy Bitzer's finest photography, with numerous opportunities for glowing close-ups of Lillian Gish. While the beauty of the photography is apparent, it is not always realized in this print.

The video transfer from Critics' Choice is from the restored version. Since the Russian print was well worn (with some scratches, but few splices), the image does not have the detail of the other releases, but it is still very sharp, and the contrast is controlled. The tape is black and white, although the film would be greatly enhanced by tinting, as the two key sequences of the film were shot day-for-night. When Harron leaves for the city in the middle of the night, he stops by and wakens Gish to say good-bye. In the final reel, he returns in the evening, and the plot device of mistaken identification requires that the climatic sequence take place at night. This would be apparent with the original tints, but is confusing in black and white. The titles appear to contain the original text, and are restored to appear in the fashion of the time. The excellent, though uncredited, piano score supporting the film is by Phil Carli. This is a fine release of an often neglected, minor classic. (Review © 1997 David Pierce)

Send additions, suggestions, comments or questions to David Pierce, prizma@onetel.com