starring Lillian Gish and Ronald Colman
November, 1923

Lillian Gish scores another personal triumph in her much heralded production of the popular Marion Crawford novel. As a young girl, orphaned, turned out of her home by the cruel older sister, and finallly bereft of her lover, she goes through every shade of emotion. When, after becoming a nun, the lover miraculously returns to her, the situation reaches an intensity, a passion, that calls for superb acting. The climax of the renunciation, and of the following volcanic eruption that gives the lover a chance to die as a hero, is well handled. Henry King's direction is good. though Miss Gish may not reach the peaks of expression that she did under Griffith's supervision, her work is more evenly balanced and human. She is a woman, rather than a temperamentally high-strung girl.

starring Lillian Gish and Ronald Colman
December, 1923

There is a lyric quality to Lillan Gish's acting in "The White Sister" (Inspiration) which has never been recognized before. In that respect, Henry King, who directed this tragic story of broken romance, has brought forth a talent which Griffith neglected in order to create an emotional outburst of pent-up floods of passions and fear. As the frail, tender, misguided child of fate, Miss Gish makes poignant appeal. It is heartrending to see this tormented soul taking her separation from her lover with such courage. and, when learning of his death, turning her back on the world and finding peace and sanctuary in the Church.

There is a splendid clash of emotions when the girl takes the veil - an unforgettable scene - and daring in its execution. Then when the lover returns to find his sweetheart a nun, the story releases a deeper poignant note. Here is Lillian Gish of wistful charm and poise, suffering the anguish which comes from conflict in her heart.

There are some irrelevant touches, and the climax is too orthodox to ring genuine. We have the play of elements from all sides - nature releasing its unbounded fury, and the human puppets are swept aside like so many toy figures. The finish is regulation movie stuff. But the picture earns respect because of its spiritual quality - its poignant touches - its sweep of passion.

It strikes deep with its conflict of distressed souls, and one emerges from the theater with a feeling of exhaustion - the tensity of scene when the girl takes the veil and when her soldier-lover returns to claim her, holding one in a tight embrace. A newcomer is Ronald Colman who plays the broken-hearted lover, and he gives a performance of quiet force and dignity. He never seems to be acting, which makes his expression all the more natural and genuine.

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