“Her name is Louise. Save Her.”

This is one of film pioneer D.W. Griffith's most rich and beautiful silent films. Griffith transformed A. D'Ennery’s 19th century play into a mesmerizing and heartfelt epic which never lags, its stars and story holding the viewer’s attention with its beauty and drama. The contrast of excess and poverty which brought about the French Revolution is told through the moving story of a blind orphan girl and the “sister” who sacrifices all to care for her. The casting of real sisters Lillian and Dorothy Gish in the parts of Louise and Henriette proved a fortunate one, both giving a sterling account of their considerable talents.

Lushly photographed by Billy Bitzer, Griffith shows the ornate beauty of aristocratic life, and how much at odds it was with the tremendous poverty in the streets. His genius here, however, was using the giant canvas as a backdrop to the more intimate story of Henriette (Lillian Gish) and her blind sister, Louise (Dorothy Gish). It made for a fast-moving and incredibly entertaining film, rather than some cerebral historical epic which looks great but has difficulty holding your attention.

When the plague takes the lives of both their parents, Henriette vows to care for her blind sister Louise, abandoned on their doorstep as a baby. The two have grown up as sisters and it is that love which carries them through the storm about to engulf France. It is to Paris they travel in hopes of restoring Louise’s sight; a place where Henriette’s beauty does not go unnoticed. A crass aristocrat showing more concern for his horses than the poor young Parisian girl he runs over abducts Henriette, leaving the blind Louise on her own.

There is one aristocrat with a heart, however, and young Chevalier (Joseph Schildkraut) falls deeply in love with Henriette, offering a bethrothal ring. Though she loves the young man, she has promised not to marry without her sister's approval. While Chevalier tries to find Louise, Henriette befriends the voice of the downtrodden, Danton (Monte Blue), only to find herself imprisoned, leaving Louise is at the mercy of street people. Louise is not without her protector either, however, even though it comes in the form of a cowardly street urchin named Pierre (Frank Puglia).

But a shadow hangs over Henriette’s happiness, as there are twists and turns, a coming together and parting, and a possible execution during the Revolution that makes for great silent film excitement. Both Lillian and Dorothy Gish are wonderful here. Each have that dainty beauty which enabled them to play younger than they were in real-life. Those who doubt Lillian’s physical appeal, however, will no longer do so after viewing this romantic historical epic. One scene in particular, as an umbrella clad Henriette braces the rain, offers ample evidence that a beautiful woman lurked just beneath Gish’s child-like beauty.

Creighton Hale and Lucille La Verne lend support, but this film truly belongs to the Gish sisters. This Alpha version is surprisingly good, with a fitting classical score accompanying the action. The film itself is a dazzling spectacle, its mix of sentiment and heroics nearly unequaled in American cinema. A fantastic silent film which is as artistic as it is entertaining. A true American masterpiece. ( )

Two sisters are separated during the French revolution.

Indifferent. Long, slow, and with very little to recommend it. ( )