Book contents
- Frontmatter
- Contents
- Foreword to the Second Edition
- Preface to the First Edition
- Acknowledgments
- Notes on the Essays
- The “I” of the camera
- 1 Hollywood Reconsidered: Reflections on the Classical American Cinema
- 2 D. W. Griffith and the Birth of the Movies
- 3 Judith of Bethulia
- 4 True Heart Griffith
- 5 The Ending of City Lights
- 6 The Goddess: Reflections on Melodrama East and West
- 7 Red Dust: The Erotic Screen Image
- 8 Virtue and Villainy in the Face of the Camera
- 9 Pathos and Transfiguration in the Face of the Camera: A Reading of Stella Dallas
- 10 Viewing the World in Black and White: Race and the Melodrama of the Unknown Woman
- 11 Howard Hawks and Bringing Up Baby
- 12 The Filmmaker in the Film: Octave and the Rules of Renoir's Game
- 13 Stagecoach and the Quest for Selfhood
- 14 To Have and Have Not Adapted a Film from a Novel
- 15 Hollywood and the Rise of Suburbia
- 16 Nobody's Perfect: Billy Wilder and the Postwar American Cinema
- 17 The River
- 18 Vertigo: The Unknown Woman in Hitchcock
- 19 North by Northwest: Hitchcock's Monument to the Hitchcock Film
- 20 The Villain in Hitchcock: “Does He Look Like a ‘Wrong One’ to You?”
- 21 Thoughts on Hitchcock's Authorship
- 22 Eternal Véritées: Cinema-Vérité and Classical Cinema
- 23 Visconti's Death in Venice
- 24 Alfred Guzzetti's Family Portrait Sittings
- 25 The Taste for Beauty: Eric Rohmer's Writings on Film
- 26 Tale of Winter: Philosophical Thought in the Films of Eric Rohmer
- 27 The “New Latin American Cinema”
- 28 Violence and Film
- 29 What Is American about American Film Study?
- Index
4 - True Heart Griffith
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Foreword to the Second Edition
- Preface to the First Edition
- Acknowledgments
- Notes on the Essays
- The “I” of the camera
- 1 Hollywood Reconsidered: Reflections on the Classical American Cinema
- 2 D. W. Griffith and the Birth of the Movies
- 3 Judith of Bethulia
- 4 True Heart Griffith
- 5 The Ending of City Lights
- 6 The Goddess: Reflections on Melodrama East and West
- 7 Red Dust: The Erotic Screen Image
- 8 Virtue and Villainy in the Face of the Camera
- 9 Pathos and Transfiguration in the Face of the Camera: A Reading of Stella Dallas
- 10 Viewing the World in Black and White: Race and the Melodrama of the Unknown Woman
- 11 Howard Hawks and Bringing Up Baby
- 12 The Filmmaker in the Film: Octave and the Rules of Renoir's Game
- 13 Stagecoach and the Quest for Selfhood
- 14 To Have and Have Not Adapted a Film from a Novel
- 15 Hollywood and the Rise of Suburbia
- 16 Nobody's Perfect: Billy Wilder and the Postwar American Cinema
- 17 The River
- 18 Vertigo: The Unknown Woman in Hitchcock
- 19 North by Northwest: Hitchcock's Monument to the Hitchcock Film
- 20 The Villain in Hitchcock: “Does He Look Like a ‘Wrong One’ to You?”
- 21 Thoughts on Hitchcock's Authorship
- 22 Eternal Véritées: Cinema-Vérité and Classical Cinema
- 23 Visconti's Death in Venice
- 24 Alfred Guzzetti's Family Portrait Sittings
- 25 The Taste for Beauty: Eric Rohmer's Writings on Film
- 26 Tale of Winter: Philosophical Thought in the Films of Eric Rohmer
- 27 The “New Latin American Cinema”
- 28 Violence and Film
- 29 What Is American about American Film Study?
- Index
Summary
After D. W. Griffith broke with the American Biograph Company over his wish to release Judith of Bethulia as a feature-length film, his output was divided between large-scale epics and more unassuming productions that show him in a different and in many ways more appealing light (although Griffith's greatest films, such as The Birth of a Nation, succeed as intimate dramas as well as epics). Of these deceptively modest films, True Heart Susie (1919) and the more famous Broken Blossoms, made in the same year, are the most charming, the most assured, and the most lovable. True Heart Susie is also one of Griffith's most prophetic meditations on the medium of film.
Susie (Lillian Gish) grows up in the small town of Pine Grove. (The film calls this Indiana, but who could doubt that Griffith is thinking of his native Kentucky?) She has been raised by her “Aunty” (Loyola O'Connor, whom Griffith loved to cast as a matronly woman bearing on her shoulders all the suffering of the ages), always expecting to marry William (Robert Harron) when the time comes. But when will he understand that she is the love of his life and claim her with a kiss?
Not wishing to stand in the way of William's making a name for himself, Susie sells her beloved cow and anonymously gives William the money that enables him to go to college (although Susie, who wins the school spelling bee, is obviously the better student of the two).
- Type
- Chapter
- Information
- The 'I' of the CameraEssays in Film Criticism, History, and Aesthetics, pp. 29 - 43Publisher: Cambridge University PressPrint publication year: 2003