Lillian Gish

A once-in-a-lifetime cast of veterans performs David Berry's play about Libby Strong (Bette Davis) and Sarah Webber (Lillian Gish), widowed sisters vacationing on a Philadelphia island for their 60th consecutive summer. Libby is blind and embittered, while Sarah is healthy, supportive, and almost annoyingly chipper. Their neighbor Tisha (Ann Sothern) tries to convince Sarah to put Libby in the care of her daughter, but Sarah hasn't forgotten Libby's moral support when her own husband died, and she won't entertain such notions -- until she is swept off her feet by an aging roué (Vincent Price). When Libby spitefully sabotages this romance, an infuriated Sarah decides that gratitude has its limits. But when it actually comes down to selling their summer house and sending Libby packing, Sarah can't do it. In the film's flashback sequences, Libby is played by Margaret Ladd, Sarah by Mary Steenburgen, and Tisha by Ann Sothern's real-life daughter Tisha Sterling. Another film personality of long standing, Harry Carey Jr., is well cast as the sisters' handyman. ~ Hal Erickson, All Movie Guide

1985's Adventures of Huckleberry Finn is the only filmed version of the Mark Twain classic to cover every episode in the original novel and not merely such familiar vignettes as the "King and the Duke" business. Presented in four parts, Finn opens in 1844, with young Huck (Patrick Day) being kidnapped from the home of the Widow Douglas (Sada Thompson) by his brutal, drink-sodden Pap (Frederic Forest). Huck escapes by faking his own death and rafting down the river in the company of escaped slave Jim (Samm-Art Williams). Part two offers the seldom-dramatized scene in the novel wherein an abolitionist is lynched; part three recounts the Shepardson/Grangerford feud; and part four culminates with the chicanery of the King (Barnard Hughes) and the Duke (Jim Dale) and the capture of Jim. Featured in the huge cast are Lillian Gish, Geraldine Page, Butterfly McQueen, Richard Kiley, and Eugene Oakes as Tom Sawyer. Originally clocking in at 240 minutes, Adventures of Huckleberry Finn was first telecast in February and March of 1986 on PBS' American Playhouse; it is currently available in a 105-minute videocassette version. ~ Hal Erickson, All Movie Guide

Interviewed in her charming New York apartment at the age of 88, the indomitable Lillian Gish (her last name an Anglicized version of Guiche), comes across as the knowledgeable, talented, and beguiling woman of her many publicity releases. Gish recounts how she and her sister Dorothy first started working for D.W. Griffith after Mary Pickford, their former collegue in New York, persuaded Griffith to add both Gish sisters to his repertory. Gish goes on to talk about her first, popular movies with Griffith - such as the racist, radical, and cinematically brilliant Birth of a Nation. A few personal bits of information are revealed in the interview, such as the fact that when Griffith took Dorothy and Lillian, as well as their mother Mary on location in England in 1918 to film Hearts of the World, Mary Gish's health declined and she never fully recovered (she died in 1948). If French actress and director Jeanne Moreau had focused on similarly untapped areas of the great thespian's life, the documentary would have been all the more interesting. As it stands, Gish still carries the show with ease and grace. ~ Eleanor Mannikka, All Movie Guide

This third film version of Harold Brighthouse's play Hobson's Choice moves the locale from turn-of-century London to 1914 New Orleans. Horatio Hobson (Jack Warden) is the boozy, tyrannical owner of a shoe store. Hobson's daughter Maggie (Sharon Gless) falls in love with humble shoe clerk Will Mossup (Richard Thomas). When Hobson refuses to give the relationship his blessing, Maggie huffily takes her new boy friend out of the store to set up her own shop--which soon threatens to put Hobson out of business. In her last TV appearance, Lillian Gish plays the elderly benefactor who enables Will and Maggie to declare their independence. Hobson's Choice first aired on December 21, 1983. PS: A musical version of the play, Walking Happy, ran on Broadway in the mid-1960s, with Norman Wisdom starring as Will Glossop. ~ Hal Erickson, All Movie Guide

Robert Altman's over-frenetic satire on American marriage rituals and hypocrisy concerns the upper-crust marriage between Dino Corelli (Desi Arnaz Jr.) and Muffin Brenner (Amy Stryker). As the film begins, a senile bishop forgets the lines to the wedding ceremony and Nettie Sloan (the groom's grandmother) drops dead in an upstairs bedroom. Nettie's death is not disclosed to the two families who converge at the wedding reception. As the two sets of in-laws slam into each other, the bride and groom disappear in the ensuing whirlwind of chaos as both extended families vie for sexual favors and try to keep hidden never-discussed family secrets. Regina Corelli (Nina Van Pallandt) is revealed to be a drug addict, while Luigi, is endeavoring unsuccessfully to keep his Mafia connections under wraps. Meanwhile, the bride's family, although more down to earth, are revealed to be no better. Tulip Brenner (Carol Burnett) begins to flirt with one of the wedding guests, Mackenzie Goddard (Pat McCormick), while Snooks Brenner (Paul Dooley) acts like a lout and drinks heavily. And flying around the edges of the action like Tinkerbell is Buffy Brenner, the Brenners' youngest daughter, who is pregnant by the groom. As other characters bang into each other -- sexual degenerates, hard-nosed radicals, raw-boned emotional wrecks -- the wedding reception heads for its inevitable nuclear explosion. ~ Paul Brenner, All Movie Guide

This documentary follows noted film archivist Henri Langlois as he returns to Paris. Over 60,000 prints exist in his Paris museum, with 15,000 in the United States and 6,000 in Russia. Ingrid Bergman, Lillian Gish, Jeanne Moreau, Simone Signoret, Catherine Denueve, Francois Truffaut, and Viva all give commentaries about Langlois and the importance of his work to the world film community. ~ Dan Pavlides, All Movie Guide

LAPD detective Sgt. Tom Valens (David Janssen) is a ten-year veteran of the force who has had more than his share of hard luck lately -- his marriage is a wreck, and he hasn't fully recovered from a serious wound suffered in the line of duty a year ago. He and his partner, Sgt. Ed Musso (Keenan Wynn), are working a stakeout one night at the Seascape Apartments, in hope of catching a killer who has already claimed three victims in that part of the city, when he confronts a man seemingly trying to sneak off the premises. The man tries to run, stops when ordered but starts to pull a gun, and Valens shoots him dead. The deceased turns out to be Dr. James B. Ruston, a well-known humanitarian and pillar of the community -- worse yet, the police can't find any trace of the gun Valens says he saw Ruston pull. Valens' nightmare builds gradually, as he's first assigned to a desk, then hung out to dry by an indifferent coroner (Carroll O'Connor) at an inquest, suspended from the force, and then indicted for manslaughter by a crusading prosecutor (Sam Wanamaker) with a personal ax to grind. Villified in the press and by protesters in the street, Valens has few even slightly sympathetic ears around him -- his partner, his captain (Ed Begley Sr.), and his soon-to-be-ex-wife (Joan Collins) -- and even fewer allies. The one attorney (Walter Pidgeon) with enough juice to fight the case on an even footing with the DA says he would only plead him guilty and try for a deal, based on his understanding of the law and of juries; and the one public pundit (Steve Allen) who takes his part is doing so for the most cynical of reasons. Valens realizes that the only way to save himself is to first prove that the so-called victim wasn't quite the candidate for sainthood that he seemed -- why did he run? -- and to find the missing gun. To do all of that, he's got to confront the victim's aggrieved patients (Lillian Gish), his alcoholic widow (Eleanor Parker), and his employees (Stefanie Powers), all of whom have every reason to hate Valens. He starts to dig into the doctor's finances and finds some anomalies that no one can explain (or wants to look at -- they'd rather hang Valens), and as he puts together the pieces of the puzzle, helped by a sympathetic tenant at Seascape (George Grizzard), Valens finds himself pursued by the doctor's thug of son and his friends with mayhem on their minds -- and someone else with a deadlier agenda. ~ Bruce Eder, All Movie Guide

There's no love lost between small-town busybody Bessie Carnby (Lillian Gish) and her neighbors Henry and Samantha Wilkins (Peter Lind Hayes, Patricia Cutts) -- nor does Bessie's daughter, Camilla (Maggie McNamara), make a secret of her dislike for the mousy Henry. Eventually, Bessie decides to bury the hatchet and pays a visit to the Wilkinses -- and in the process, comes to the conclusion that Samantha has murdered Henry and disposed of his body. Thanks to Bessie's persistence, Samantha is arrested, convicted, and executed. Only afterward does Bessie learn the whole truth -- and this time, it looks as though justice will not be done. Originally scheduled to air on November 22, 1963, "Body in the Barn" was rescheduled for July 3, 1964, as the final episode of Alfred Hitchcock's ninth season on the air. ~ Hal Erickson, All Movie Guide

One of Hollywood's most famous and acclaimed directors, John Huston guides this western with an unerring hand -- the cast of notable stars is no drawback either. Setting up the story with a series of suspenseful scenes, Huston has a mysterious stranger on horseback come into a small community in the Texas Panhandle and then proceed to cause a mini-war. The time is the mid-19th century and there is already antagonism between the white settlers in the community and the local Kiowa Indian nation. The Zachary family is at the crux of the trouble. Matilda (Lillian Gish) is the matriarch who holds a family secret -- her adopted daughter Rachel (Audrey Hepburn) is actually a Kiowa child. There are three brothers in the Zachary family, and one of them, Ben (Burt Lancaster) is obviously in love with Rachel. Another, Cash (Audie Murphy) hates Native Americans, while the youngest (Doug McClure) is there to defend the family when they need it. The stranger on horseback has done the unthinkable, he has made it widely known that Rachel is a Kiowa -- and then the battles begin. ~ Eleanor Mannikka, All Movie Guide

William Gibson's novel The Cobweb was brought to the screen by MGM with an impressive, hand-picked cast. Richard Widmark plays the head of a posh psychiatric clinic. Widmark's wife Gloria Grahame jockeys for the honor of selecting new drapes for the hospital's library. One wouldn't think that such a trivial decision would spark so much melodrama; but thanks to those drapes, we are allowed to probe the disturbed psyches of martinet business affairs director Lillian Gish, philandering doctor Charles Boyer, lonely activities director Lauren Bacall, and suicidal patient John Kerr. Oscar Levant, who spent most of his life in and out of "little white rooms", is ideally cast as a neurotic musician, while Fay Wray has a superb cameo as Boyer's long-suffering wife. Cobweb served as the screen debuts for both John Kerr and Susan Strasberg. ~ Hal Erickson, All Movie Guide

In Portrait of Jennie, Joseph Cotten plays an artist, Eben Adams, who is unable to bring any true feeling to his work. While painting in Central Park one morning, Eben makes the acquaintance of a schoolgirl named Jennie (Jennifer Jones), who prattles on about things that happened years ago. Intrigued at her thorough knowledge of the past, Eben is about to converse with her further, but Jennie has vanished. Over the next few months, Eben meets Jennie again and again -- and each time she seems to have aged by several years. He paints her portrait, which turns out to be more full of expression and emotion than anything he's previously done. His curiosity peaked by Jennie's enigmatic nature, Eben uncovers evidence that he has been conversing -- and falling in love -- with the ghost of a girl who died years earlier in a hurricane. On the eve of the hurricane's anniversary, Eben rushes to meet Jennie at the site where she was supposedly killed. As a new storm rages, Jennie vanishes for good, but not before declaring that the love she and Eben have shared will live forever. Rescued from the storm, Eben convinces himself that Jennie was a mere figment of his imagination. Then he notices that he stills clutches her scarf in his hand. He looks at his portrait of Jennie (the only Technicolor shot in this otherwise black-and-white film) and understands what she meant when she said that their love would endure throughout eternity; it will do so through Cotten's art, both the portrait at hand and all future portraits. Based on the novel by Robert Nathan, Portrait of Jennie is one of the most beautifully assembled fantasies ever presented onscreen. Producer David O. Selznick's unerring eye for "rightness" enabled him to select the perfect stars, supporting cast (Lillian Gish, Ethel Barrymore, David Wayne, Cecil Kellaway, et al.), director, cinematographer (Joseph August), and composer (Dimitri Tiomkin, who based his themes on the works of Debussy), and blend everything into one ideally balanced package. ~ Hal Erickson, All Movie Guide

Based on the novel by Augusta Tucker, the provocatively titled Miss Susie Slagle's is actually a leisurely, sentimental story set in a turn-of-the-century boarding house. The title character, played by Lillian Gish, is the house's landlady, catering exclusively to young doctors and nurses in training. Miss Susie Slagle takes pride in the fact that not one of her boarders has ever failed medical school, but for a while it looks as though this perfect record will be spoiled by Elijah Howe Jr. (Bill Edwards), the seemingly irresponsible son of one of Susie's former tenants (Ray Collins). The bulk of the storyline is carried by med student Pug Prentiss (Sonny Tufts), who carries on a romance with Howe Jr.'s sister Margaretta (Joan Caulfield, in her film-starring debut). Flamboyant comic actor Billy DeWolfe is uncharacteristically restrained as pragmatic third-year student Ben Mead, though the script contrives to allow DeWolfe to do one of his celebrated female-impersonation routines! In true open-ended fashion, the film ends as it begins, with Miss Susie Slagle welcoming another crop of students to her lodgings. ~ Hal Erickson, All Movie Guide