gri_2003_m_46_b05_f12_017
- Max. dissimilarity: 0.075
- Mean dissimilarity: 0.044
- Image votes: 0.0
Transcribers
- 69079484 - Preacher357
- WINNER - 69630478 - gailkoelker
- 69769620 - THIRTYFATHOMGRAVE
- 69956368 - tinkapuppy
- 70549512 - jesseytucker
- 71171818 - Zooniverse2017
- 71178764 - Strathdon
69079484 - Preacher357
D. W. Griffith made True Heart Susie in 1919. It is corn.It sets out to consider which it is men value most - a loving
heart or a pretty, powdered face. It also asks - what of those
women (the ones with the loving hearts) whose fate it is to wait
for the one man? The answers to these ridiculous questions
are absolutely complacent. Much of the film satisfies the sup-
posed wishes and standards of those who, not having pretty faces,
consider their hearts capable of love. The view of the world
presented is, therefore, to say the least of it, narrow. The
good girl Susie and the gad girl Bettina have a reassuring rigid-
ity. In the handling of the two actresses something of Grif-
fith's exeptional quality shapes the corn: Bettina, the dark
one, is always hipping it, running, extending her arm and flapping
her hand ( we call it 'waving'): Susie, the fair Lilian Gish, on
the other hand, is graceful in a constrained way, restrained, and
when she is excited her jumps have a childishness untouched by
Bettina's seductiveness. The contrast of these two figures al-
ways manoeuvering around the solemn hero is charming - not just
in terms of simple characterisation, but in terms of imagery and
rhythmic movement. The action covers a number of years, long
enough for the hero to marry Bettina, rue it, and lose her as a
result of bad weather on the way home from an illicit party.
Only after this is the true heart rewared. Time is almost
Bergsonian in its happy avoidance of age and a sense of waiting.
The narrative has the flow of phantasy, dwelling on emotional high-spots, of suffering or happiness, in an eternity of sentimental fluses.
WINNER - 69630478 - gailkoelker
D.W. Griffith made True Heart Susie in 1919. It is corn. It sets out to consider which it is men value most-a loving heart or a pretty, powdered face. It also asks - what of those women (the ones with the loving hearts) whose fate it is to wait for the one man? The answers to these ridiculous questions are absolutely complacent. Much of the film satisfies the supposed wishes and standards of those who, not having pretty faces, consider their hearts capable of love. The view of the world presented is, therefore, to say the least of it, narrow. The good girl Susie and the bad girl Bettina have a reassuring rigidity. In the handling of the two actresses something of Griffith's exceptional quality shapes the corn: Bettina, the dark one, is always hipping it, running, extending her arm and flapping her hand, (we call it 'waving'); Susie, the fair Lilian Gish, on the other hand, is graceful in a constrained way, restrained, and, when she is excited her jumps have a childishness untouched by Bettina's seductiveness. The contrast of these two figures always manoeuvering around the solemn hero is charming - not just in terms of simple characterisation, but in terms of imagery and rhythmic movement. The action covers a number of years, long enough for the hero to marry Bettina, rue it, and lose her as a result of bad weather on the way home from an illicit party. Only after this is the true heart rewarded. Time is almost Bergsonian in its happy avoidance of age and a sense of waiting. The narrative has the flow of phantasy, dwelling on emotional high-spots, of suffering or happiness, in an eternity of sentimental .69769620 - THIRTYFATHOMGRAVE
D. W. Griffith made True heart Susie in 1919. It is corn. It sets out to consider which it is men value most - a loving heart or a pretty, powdered face. It also asks - what of those women (the ones with the loving hearts) whose fate it is to wait for the one man? The answers to these ridiculous questions are absolutely complacent. Much of the film satisfies the sup- posed wishes and standards of those who, not having pretty faces, consider their hearts capable of love. The view of the world presented is, therefore, to say the least of it, narrow. The good girl Susie and the bad girl Bettina have a reassuring rigid-ity. In the handling of the two actresses something of Grif-
fith's exceptional quality shapes the corn: Bettina, the dark one, is always hipping it, running, extending her arm and flapping her hand (we call it 'waving') ; Susie, the fair Lilian Gish, on the other hand, is graceful in a constrained way, restrained, and when she is excited her jumps have a childishness untouched by Bettina's seductiveness. The contrast of these two figures al -
mays maneuvering around the solemn hero is charming - not just in terms of simple characterisation, but in terms of imagery and rhythmic movement. The action covers a number of years, long enough for the hero to marry Bettina, rue it, and lose her as a result of bad weather on the way home from an illicit party. Only after this is the true heart rewarded. Time is almost Bergsonian in its happy avoidance of age and sense of waiting.
The narrative has the flow of phantasy, dwelling on emotional high spots, of suffering or happiness, in an eternity of sentimental mores.
69956368 - tinkapuppy
D.W. Griffith made True Heart Susie in 1919. It is corn.It sets out to consider which it is men value most - a loving
heart or a pretty, powdered face. It also asks - what of those
women (the ones with the loving hearts) whose fate it is to wait
for the one man? The answers to these ridiculous questions
are absolutely complacent. Much of the film satisfies the sup-
posed wishes and standards of those who, not having pretty faces,
consider their hearts capable of love. The view of the world
presented is, therefore, to say the least of it, narrow. The
good girl Susie and the bad girl Bettina have a reassuring rigid-
ity. In the handling of the two actresses something of Grif-
fith's exceptional quality shapes the corn: Bettina, the dark
one, is always hipping it, running, extending her arm and flapping
her hand (we call it 'waving'); Susie, the fair Lilian Gish, on
the other had, is graceful in a constrained way, restrained, and,
when she is excited her jumps have a childishness untouched by
Bettina's seductiveness. The contrast of these two figures al-
ways maneuvering around the solemn hero is charming - not just
in terms of simple characterization, but in terms of imagery and
rhythmic movement. The action covers a number of years, long
enough for the hero to marry Bettina, rue it, and lose her as a
result of bad weather on the way home from an illicit party.
Only after this is the true heart rewarded. Time is almost
Bergsonian in its happy avoidance of age and a sense of waiting.
The narrative has the flow of fantasy, dwelling on emotional high-
spots, of suffering or happiness, in an eternity of sentimental flux.
70549512 - jesseytucker
D.W. Griffith made True Heart Susie in 1919. It is corn.It sets out to consider which it is men value most--a loving
heart or a pretty, powdered face. It also asks--what of those
women (the ones with the loving hearts) whose fate it is to wait
for the one man? The answers to these ridiculous questions
are absolutely complacent. Much of the film satisfies the sup-
posed wishes and standards of those who, not having pretty faces,
consider their hearts capable of love. The view of the world
presented is, therefore, to say the least of it, narrow. The
good girl Susie and the bad girl Bettina have a reassuring rigid-
ity. In the handling of the two actresses something of Grif-
fith's exceptional quality shapes the corn: Bettina, the dark
one, is always hipping it, running, extending her arm and flapping
her hand (we call it 'waving'); Susie, the fair Lilian Gish, on
the other hand, is graceful in a constrained way, restrained, and,
when she is excited her jumps have a childishness untouched by
Bettina's seductiveness. The contrast of these two figures al-
ways maneuvering around the solemn hero is charming--not just
in terms of simple characterization, but in terms of imagery and
rhythmic movement. The action covers a number of years, long
enough for the hero to marry Bettina, rue it, and lose her as a
result of bad weather on the way home from an illicit party.
Only after this is the true heart rewarded. Time is almost
Bergsonian in its happy avoidance of age and a sense of waiting.
The narrative has the flow of fantasy, dwelling on emotional high-
spots, of suffering or happiness, in an eternity of sentimental blue.
71171818 - Zooniverse2017
D. W. Griffith made True Heart Susie in 1919. it is corn.it sets out to consider which it is men value most - a loving
heart or a pretty, powdered face. It also asks - what of those
women (the ones with the loving hearts) whose fate it is to wait
for the one man? The answers to these ridicilous questions
are absolutely complacent. Much of the film satisfies the sup-
posed wishes and standards of those who, not having pretty faces.
consider their hearts capable of love. The view of the world
presented is, therefore, to say the least of it, narrow. The
good girl Susie and the bad girl Bettina have a reassuring rigid-
ity. In the handling of the two actresses something of Grif-
fith's exceptional quality shapes the corn: Bettina, the dark
one, is always hipping it, runnin, extending her arm and flapping
her hand (we call it 'waving'): Susie, the fair Lilian Gish, on
the other hand, is graceful in a constrained way, restrained, and
when she is excited her jumps have a childishness untouched by
Bettina's seductiveness. The contrast of these two figures al-
ways manoeuvering around the solemn hero is charming - not just
in terms of simple characterisation, but in terms of imagery and
rhytmic movement. The action covers a number of years, long
enough for the hero to marry Bettina, rue it, and lose her as a
result of a bad weather on the way home from an ollicit party.
Only after this is the true heart rewarded. Time is almost
Bergsonian in its happy avoidance of age and a sense of waiting.
The narrative has the flow of phantasy, dwelling on emotional high-
spots, of suffering or happiness, in an eternity of sentimental hues.
71178764 - Strathdon
D.W. Griffith made True Heart Susie in 1919. It is corn. It sets out to consider which it is men value most - a loving heart or a pretty, powdered face. It also asks - what of those women (the ones with the loving hearts) whose fate it is to wait for the one man? The answers to these ridiculous questions are absolutely complacent. Much of the film satisfies the supposed wishes and standards of those who, not having pretty faces, consider their hearts capable of love. The view of the world presented is, therefore, to say the least of it, narrow. The good girl Susie and the bad girl Bettina have a reassuring rigid-ity. In the handling of the two actresses something of Grif-fith's exeptional (sic) quality shapes the corn: Bettina, the dark one, is always hipping it, running, extending her arm and flapping her hand (we call it 'waving'); Susie, the fair Lilian Gish, on the other hand, is graceful in a constrained way, restrained, and, when she is excited her jumps have a childishness untouched by Bettina's seductiveness. The contrast of these tow figures al-ways manoeuvering round the solemn hero is charming - not just in terms of simple characterisation, but in terms if imagery and rhythmic movement. The action covers a number of years, long enough for the hero to marry Bettina, rue it, and lose her as a result of bad weather on the way home from an illicit party. Only after this is the true heart rewarded. Time is almost Bergsonian in it happy avoidance of age and a sense of waiting. The narrative has the flow of phantasy, dwelling on emotional high spots, of suffering or happiness, in an eternity of sentimental flux.