This silent film directed by Henry King is handsomely made, with interesting location shooting in Italy where the turbulent melodrama is mostly set.
The film doesn’t have a lot of visual flair — there are only two or three memorable shots in the whole thing — but it does have Lillian Gish. Whatever she does — from standing still to walking across a room to doing a little gypsy dance to gently kissing her beloved — she electrifies the screen, makes cinema happen.
Griffith liked to emphasize Gish’s girlish quality, but she could be very womanly under the direction of other filmmakers — never quite carnal but decidedly sexual, decidedly mature — and so she is here.
The film would not add up to much without her — with her it has a miraculous dimension. She was a fine actress in her later years, in talkies and on the stage, but in silent films she was, quite simply, an artist of transcendent genius, who understood the demands and possibilities of the medium as well as any actor of the silent era, including Chaplin, Jannings and Garbo.