My most frequent thought during this film? KISS HER, YOU FOOL. The story reflects an era when much of the U.S. population still lived and worked on farms, and college was for wealthy white men. The story is at heart about altruistic love: Susie helps not only William, but her rival Bettina as well. This has the pleasant payoff of William realizing he's been a total jackass. One last thing. Lillian Gish. THOSE EYES...
By today's standards, the editing is quite slow. For 1919, it's wonderful. Love the closeup of Susie during the wedding ceremony. Don't need any dialogue to feel her resignation and hurt. Sure the gender roles are outdated, but you still believe in the film's promise of True Love United. Wish there were an alternate ending where Susie quits waiting for dopey William, gets an MBA, and starts a profitable dairy farm.
3 & a half cows. Adorable, like playing with dolls, or kittens, or assessing Little Women as a really good novel. It's a dreamworld of innocence which doesn't exist anywhere, and although the introduction may claim some feminist values, they are very, very few if at all. Gish is perfect, Griffith is close to perfect, but still dolls and kittens. Lillian Gish rocks--as always.
A warm story with a gentle subdued performance by Gish. Several scenes effective, but to me, the one that made the movie was Gish in bed with her rival, and being so angry at her for taking her man away, taking her in her arms and comforting her. Griffith made better films, but perhaps none as sentimental. 3.5 stars
D'une pénétrante morosité ambiante, savamment entretenue par un scénario, mine de rien subtil et cauteleux, une œuvre distillant une sourde mélancolie et une insidieuse affliction entretenues et générées par une Lillian Gish vraiment impériale, avec cette façon naturelle d'interpréter des rôles bien plus jeunes que ses artères qui l'ont menée jusqu'aux portes centennales d'une brillante carrière. www.cinefiches.com
Feeling like a departure from Griffith's greats, True Heart Susie seems lacking in scope and ingenuity, fitting more in the role of films of that era. So of the messages delivered, including the introduction, contain some degree of deeper meaning. There are also splashes of wit, but largely the film feels inconsequential when contrasted to his other pieces. I would not have guess this was a Griffith film.
had a few problems with the underlying ideas being pushed here. I fully recognize the era in which the film was made but that does not preclude the notion that perhaps even for its time it was a bit old fashioned, D.W. Griffith not being particularly known for his progressive political thought. That being said, it remains a lovely viewing experience. Lillian Gish is a joy.
True hearted women do battle with the paint and powder brigade. In this harrowing tale, but for deadly virus, an old woman, a broken vow of chastity, and a troubled conscience - true love prevails. Yes, she dresses plainly, but she wields identity theft, covert finance, and she never got rid of the black silk stockings and garterbelt. Based on a true story, this is a devastating account of the battle of the sexes.
A true heart movie that couldn't be sweeter than it is. I think that most of us should watch True Heart Susie just to take a recollection of those feelings that don't exist anymore. A must seen for all the ancient souls that still believe in true heart people. In those missed kisses between the main characters lies all the lost beauty in the world. 4.5
When she touches her bare ring finger! And collapses into the bushes! an emotionally powerful though simple and idealist film, only slighted by a naive, one-dimensional, cardboard male protagonist who does nothing to match the purity of spirit of his female counterpart. 87/100 - Excellent.
I like the Griffith at small scale better than w/ the large, expansive canvas. Though Birth of a Nation is disgustingly racist, it is also a total snore. Broken Blossoms (one of the greatest films of all time), on the other hand, is a precious mettle. I love the Griffith who is tenderly beholden to the almost-overwhelmed-though-decidedly-passive face of the immortal Lillian Gish. One of the great partnerships.
No es la primera vez que Griffith pone como tema central la abnegación femenina. Por encima de la fidelidad a un amor, aquí la protagonista posee de por sí una naturaleza benevolente. Pero está también su lado inverso, la mujer que es todo lo contrario a esta. A pesar de que lo femenino posea mayor protagonismo, lo masculino es de hecho el centro de la historia. Él motiva los conflictos y el drama.