Thoughts on “True Heart Susie”

There is a collective dream of the era we like to describe as Victorian. It is composed of brownish lace, top hats, dusty wrought iron and soft-edged photos of remote, elegant people. It’s that feeling we have when we come across something surprisingly delicate and worn in an antique shop. It’s the way the term “Victorian” itself suggests good posture, engravings, and heavy drapery.

Within that collective dream, occasionally there would come a gem like True Heart Susie (1919). This is a film not only made from dreams, and not only nostalgic memories of the “olden days”, but polished snippets of a time that was still alive and well. The year it was made World War I had just ended, the Model T was still the butt of countless jokes, and only 2% of American farms had electricity.

At this time, technically the very end of the Edwardian era, D.W. Griffith had finished Intolerance and several WWI themed films and had shifted his focus toward quieter stories. Aside from his famed Broken Blossoms, he made a variety of what Lillian Gish later described as “rural poems,” such as A Romance of Happy Valley and The Greatest Question (both 1919).

Thanks to Griffith’s The Birth of a Nation being the most significant film in history, helping to advance screen techniques, influencing countless filmmakers, and still being remembered today for precisely none of those things, Griffith’s “rural poems” tend to get overlooked. But while True Heart Susie is the quietest and gentlest of these character-driven dramas it is, in my mind, just as much a masterpiece as Griffith’s other major works.

Lillian Gish stars as Susie, described as “plain” and “simple.” If Susie is plain, maybe it’s because her little hats are a trifle old-fashioned, and the style of her becoming dresses perhaps very old-fashioned. If she is simple, maybe it’s because she is slow to suspect dishonesty in others, and loves with unquestioning openness. Lest you suspect our Susie of being overly idealized, let me add that Gish graces her character with a naivete that never cloys, and sweetly awkward mannerisms to match.  Her Susie wins you over not just through virtue but by the virtue of being herself.

The wonderful Robert Harron plays William, whom Susie secretly adores.  He is an upstanding young man, unsure of himself but ambitious, longing for the college education that his farmer father dismisses.  He is so bashful that he can’t bring himself to give Susie a kiss.  That’s alright, for she will keep waiting for it patiently.  He’s the only boy in the world for her, and that kiss will come soon enough, she is sure.

Susie wants William to have his education, so in secret she sells her beloved pet cow and mails him the money anonymously.  William, overjoyed, believes the money to be from a wealthy benefactor.  Susie doesn’t correct him, for she is every bit as excited for him.  Eventually William, now a manly minister, returns home from college.  She listens adoringly as he explains his thoughts on “painted and powdered” girls.  “Men flirt with that kind, but they marry the plain and simple ones,” he asserts over a bowl of ice cream at the soda parlor.  Susie is all aglow, for she, “dimly conscious she is both plain and simple, takes this entirely too seriously.”

But alas for our trusting Susie, for now the painted and powdered rival enters the story.  Flirty, fun-loving, and about as self-centered as you’d expect, Bettina (Clarine Seymour) seduces William for practical purposes and William of course falls for her.  Susie dimly realizes that she has lost William forever…

Well-paced and shot with exceptional beauty, True Heart Susie is not only a rural poem, but a love-letter to rural places and people.  The quaintness of its settings and characters never feels forced or overtly stylized.  It is an exquisite piece of Americana.

The title cards, gently teasing our characters, add much to the “love-letter” experience.  Modern audiences might be taken aback with a title saying “Of course they don’t know what poor simple idiots they are–and we, who have never been so foolish, can hardly hope to understand–”  But the affection behind it is sincere.  The audience is invited not just to smile at the seriousness of these young, “simple” characters, but to be reminded of a time when they were perhaps just as serious.  True Heart Susie is nothing if not affectionate.

This film would not work without top-notch performances, and that’s just what the three main actors deliver.  Harron goes from gawky, grinning youth (and this a few years after playing a manly gangster in Intolerance) to self-assured minister with aplomb.  Everything, including the his subtlest body language, convinces us that his character has truly gone from boy to man.  When his “painted and powdered” girl shows how unfit a match she is for him, he is gentlemanly toward her but you sense his hurt.  Harron’s natural talent would not be out of place in a film today; it’s almost perplexing that he isn’t better known.

True Heart Susie bobby

Seymour is pitch-perfect as the said “powdered” girl.  While this character is perhaps as close to a villain as we get in this story, she not completely unsympathetic and is vividly brought to life.  Bettina’s a girl that a lot of us probably know–someone very social who loves dancing and music, is easily bored and perhaps was a little spoiled while growing up.  What William needs is a devoted wife and skillful housekeeper (this being an age when housekeeping was an art) but Bettina has little interest in the latter and is too self-centered for the former.  That being said, she’s not all selfishness–despite a friend’s advances she stays loyal to William, and when she’s caught in an uncompromising situation her anxiety over disappointing him is real.

More than one viewer has thought that the portrayal of Susie just might be Gish’s finest performance.  There was perhaps no other actress who could create a portrait of sweet, feminine purity so sincerely as Gish.  Her Susie appeals to our deepest sympathies, and while you smile at her quaint mannerisms at first, they quickly win you over. Throughout the course of the film you admire her patience and self-sacrifice.  For me, there is a breath of fresh air in the scenes where she shows forgiveness toward her rival.  This type of mercy is rarely seen in today’s films, which seem more concerned with punishing and humiliating rivals.  Bettina is allowed a bit more dignity.

Gish is often described as a dramatic actress while her sister Dorothy is noted for her comedy skills, yet it seems to me that Gish certainly had a fine comedic timing of her own.  The scene where Susie, indignant over Bettina’s treatment of William, makes her small hand into a fist, might be what Walter Kerr was thinking of when he mentioned Harry Langdon‘s “curious kinship with Miss Gish” in his book The Silent Clowns.  

It’s almost hard to describe how much I love True Heart Susie.  If I were to introduce some viewers unfamiliar with silents to this film, I would try my best to be casual.  I would cheerfully caution them against judging it as “too Victorian” (explaining the Edwardian era might be too much), and advise them to put aside their 21st century cynicism and accept the film on its own terms.  As it began I admit I would be sneaking glances at them, anxious for them to love it as much as I do.

But then, I would relax.  I wouldn’t need to worry, for the charm of Griffith’s True Heart Susie can draw people in on its own.

25 thoughts on “Thoughts on “True Heart Susie”

  1. This looks charming. Charming is certainly a vibe that seems to be missing these days (among other qualities…when was the last person you thought of as ‘debonaire’?). I’ll be adding this one to my massive ‘to watch’ silents pile. Thanks muchly for the inspiration!

  2. Rural poems…I hadn’t run across that quotation. That’s such a good way of putting it. I love True Heart Susie as well. It’s one of my very favorites. This is really Griffith at his best, to me. The way both Harron and Lillian Gish subtly transformed their characters during the course of the film is really remarkable.

    There are a lot of films that make me want to go back to an earlier time, but none so much as this one. The sense of place and the sense of a bygone time are so strong in this film. The second photo down reminds me of that scene with Bobby and Lillian standing and talking beneath that row of trees in the village, and I think, yes, that’s the world I’d like to be in. Ah well…

    Thank you for a beautiful and perceptive analysis of this film!

    • I so agree with everything you’ve said! It’s really a very special movie, and seems to have just a tad more warmth and charm than Griffith’s other rural dramas (which I also love). It’s my favorite silent film for a reason!

    • Donnie Ashworth, I just wanted to wholeheartedly agree with something you wrote: “There are a lot of films that make me want to go back to an earlier time, but none so much as this one.” You can say that again (though….it looks like I just did it for ya!!! 😀

    • I also agree with you, my friend. I wish to go back to an earlier time such as this one. Twilight Zone episodes like Kick the Can and Walking Distance are perfect, slightly more modern examples of that. This film had a quiet beauty, I wanted to live in this film!

      • Hi Kitty! I miss you from the old GS Board days. It’s like old times seeing your comments again. 🙂 I’m glad you found this site and are enjoying Lea’s excellent articles.

        I also find it hard to have the patience to sit and watch a feature length film—even one I’m *really* interested in. But you’re right, this one is definitely worth it.

  3. Oh my gosh, Lea, thank you so much for this gorgeous article because it too is one of my all time favorites.

    You’re in another world…….and then…..just that one shot, of the car…the first car you see in the whole movie…..he doesn’t beat you over the head with it. In a way, this movie reminds me alot of “The Magnificent Ambersons” (not in tone, of course!) It’s just a perfect, perfect movie.

    You wrote: “It’s almost hard to describe how much I love True Heart Susie.” Me, too.

    • True Heart Susie, rather like Buster Keaton, is the gift that keeps on giving. Every time I watch it, it puts me under its spell. Just beautiful.

      Griffith handles the whole film with that similar, “just enough” touch. It’s such a sweet film, but somehow it never feels overly sugary. It’s just right. Man, I need to watch it again…

  4. I love Lillian Gish. I sometimes have hesitancy to watching full movies in general, because, well they’re long. A little harder to set aside time to watch them, while 20 minute shorts are waiting for me. When I saw you wrote an article about it, I watched it first (as I am doing before each article about a movie I have never seen). Oh how glad I am that you did! This was a beautiful story, and I was anxious to see how it ended. I have a new favorite feature to add to the list. And it’s a Griffith for once!

    • I’m so happy that you loved it too! (And what sort of person wouldn’t love it?…Maybe I’d rather not know.) It will probably always be my favorite silent movie, so charming and sincere about its message.

  5. Such an underrated little movie. I was afraid it would be cloying from the title, but it is anything but that. Gish is fantastic. As far as her best performance goes, I still give her acting in The Wind that honor, but this is among the best and is certainly my favorite performance of hers in a Griffith production.

    • Her performance in The Wind is stunning, I might have to agree that it’s her best. In True Heart Susie, she can do so much with so little, it’s enchanting. She’s funny, too–never understood why Lillian always tried to insist that she wasn’t funny! 😀

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  8. I like that movie very much. Little things are making that movie so cute. Like the squeaking of Susis shoes or Williams touches always at his beard to show everyone how much he is grown up now.
    The ending is touching. The shadow play is pretty good. I was just a little bit sad, that their happy ending was shown so short. I wished, there was more^^
    I really, really love Lillian and Bobby together in movies. Sadly they hadn’t played so often together as couple (Maybe because I think, they had been a great couple in real life). Only one film is missing with them and I hope, it will be discovert soon.
    I only have some…lets say…problems with Clarine. I don’t know if I should like her or not. I really like her play, she is very realistic. Her phone call in THE GIRL WHO STAYED AT HOME is very cute. And her lively dancing is so nice to watch. But she looks similar to Mable Normand. Wonderfull actress but I can see at her look that she have some problems in real life. Clarine is similar. Hal Roach stated something like this too. Maybe I don’t like that kind of touch.
    But the movie is still amazing and I can watch it again and again. I would always find new pretty things^^


    PS: You make a wonderful job here at your blog.

  9. Pingback: Ask Me Anything!–Answers To Your Qs | Silent-ology

  10. Reblogged this on Silent-ology and commented:

    This is the last post for Rural America In Film Month. I hope you’ve enjoyed following along! For the “finale” I wanted to reshare my piece on my personal favorite silent film–one of the Griffith films that Lillian Gish would describe as “rural poems.” You will rarely see a sweeter portrait of a bygone time.

  11. What I especially like about this blog is being introduced to films I would otherwise never have chosen to watch if left to my own feeble efforts to discover the diamonds amongst the dross. Gish, Harron, and Seymour are all 3 terrific -and those garrulous title cards were not needed to tell this story. As for the plot – what a surprise when Harron MARRIED the party girl. But no surprise when Harron realized he hadn’t married the” right one” – good advice that the sadder but wiser Harron gave Gish when he came upon her supposedly reading some swain’s love letters. That got me speculating about how Harron was going to get rid of the jazz-baby haridan and marry his true love. Bit of a sticky wicket, what with Harron being a minister, faithful to his marriage vow of “till death do us part.” The final scene when Harron goes to Susie’s window and asks, “Is it too late?” was the perfect ending. Was it too late? Watch the film and find out.

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