The Wind 1928 123movies

Watch: The Wind 1928 123movies, Full Movie Online – Innocent and naive Letty Mason moves from her Virginia home to Sweet Water on the western prairies to live on the ranch of her cousin Beverly, his wife Cora, and their three children. Letty quickly learns how inhospitable the environment in Sweet Water is, the most obvious item being the incessant wind. But equally inhospitable are the unrefined way the people in Sweet Water live, to which she is unaccustomed, and Cora, who believes Letty has come to steal Beverly from her. As such, Cora orders Letty out of her and Bev’s house. With no money, Letty is forced to accept one of the marriage proposal she receives, the lesser evil being that from Bev and Cora’s ranching neighbor, Lige Hightower, a man whom she does not love. Despite a less than harmonious start, Letty, in part due to her isolation as she is more often than not forced to stay inside due to the wind, begins to have affection for Lige, who wants to do right by her, and who promises to send her back to Virginia when he is financially able. But a visitor who takes refuge in their house away from the wind may threaten Letty’s ultimate happiness..
Plot: When Letty Mason relocates to West Texas, she finds herself unsettled by the ever-present wind and sand. Arriving at her new home at the ranch of her cousin, Beverly, she receives a surprisingly cold welcome from his wife, Cora. Soon tensions in the family and unwanted attention from a trio of suitors, including neighbor Lige Hightower, leave Letty increasingly disturbed, resulting in tragedy.
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Ratings:

	8.0/10 Votes: 6,759
	100% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 79 Popularity: 5.802 | TMDB

Reviews:

Silent film reaches its peak as an art form at the dawn of sound
Lillian Gish plays her usual virginal character thrown into adverse and unjust circumstances, but here she does so much with the part as we watch her slowly unravel and lose her mind. She plays Letty, a girl from Virginia who comes to live with relatives in a dust bowl town. The atmosphere into which she travels doesn’t make sense in many ways. The people there supposedly make their living from cattle ranching, but with the constant sandstorms I don’t see how anything is supposed to survive in such an environment. However, that is not really the point. The constant wind and storms are just metaphors for Letty’s own mental state and feeling of entrapment. Her cousin’s wife is hostile to her from the start, convinced that Letty wants to take her husband away from her, and eventually forces her out of the home. As a result she marries a man she doesn’t love, and once this is clear to him he accepts the situation and makes it a goal to raise enough money to send Letty back to Virginia where she will be happy. On top of this there is the constant specter of a wealthy married man who wants to take Letty’s virtue for the recreation of it all.

The visual work on this film is spectacular, much like Murnau’s “Sunrise” except in reverse – this film starts out on an upbeat note with Letty looking forward to the new direction her life has turned, and it being all downhill from there. Thus we come to the familiar topic of the abrupt upbeat ending and how it didn’t make any sense in the context of the rest of the film. It was an early example of studio suits interfering with the artistic vision of the filmmakers, and so upset director Victor Sjostrom that he never directed another film in America.

Like Murnau’s “Sunrise” and “The Crowd”, 1928’s “The Wind” is an example of silent film-making at its peak. This level of art in movies would be lost at the dawn of sound until the problems with the static camera could be overcome and the novelty of sound wore off to the extent that plot and meaningful dialog became important. The first problem – technical – was remedied much more quickly than the second problem, which was largely a matter of psychology and experience.

Highly recommended for silent film fans.

Way Down West
With motion pictures having its share of windy film titles throughout the years, ranging from SOMETHING IN THE WIND (Universal, 1947), WRITTEN IN THE WIND (Universal, 1956), INHERIT THE WIND (United Artists, 1960), and the most famous wind title of all, GONE WITH THE WIND (Selznick, 1939), one of the last great silent movies with artistic style and motion becomes simply called THE WIND (Metro-Goldwyn-Mayer, 1928). Directed by Victor Seastrom, who earlier directed its leading players of Lillian Gish and Lars Hanson in THE SCARLET LETTER (MGM, 1926), re-teams these two here for another classic melodrama where the wind/or cyclone take precedence through parts of the story “of a woman who gave into the domain of the winds.”

Plot summary: Letty Mason (Lillian Gish) is a young girl from Virginia train-bound through the western prairie to stay with her cousin and family at his ranch in Sweet Water. While fearing the endless sounds of wind as seen through the train window, Letty soon makes the acquaintance of Wit Roddy (Montagu Love), a rugged fellow passenger and cattle trader who takes an interest in her. Once at her destination outside the train station, Letty is met by Ligh Hightower (Lars Hanson) and his friend, Sourdough (William Orlmond), nearest neighbors of her cousin (15 miles away) who have come to take her to the ranch by coach. While Letty gets a warm reception from her cousin, Beverly (Edward Earle), and meeting with his three children (Leon Ramon, Carmencita Johnson and Billy Kent Schaefer), she fails to get the same welcome from his bitter wife, Cora (Dorothy Cumming). During a social gathering, Letty meets with Wirt Roddy once more, who offers his hand of marriage. Because of her closeness towards her husband, the jealous Cora forces Letty to leave her ranch and get herself married. Accepting Wirt’s proposal, she discovers through him that he’s already married and only wants Letty as his mistress. With nowhere else to go, she chooses the marriage proposal of Ligh instead. Their wedding night is anything but pleasant, considering how both bride and groom are heavily nervous about being alone together. After Letty rejects Ligh’s forced intentions, Ligh realizes Letty’s hate towards him and decides to earn enough money to send her back home to Virginia. After returning home from working on the prairie, Ligh brings home an injured stranger who happens to be Wirt. Being left alone with him while her husband is out working, Letty soon finds her biggest fear is not so much the endless sounds of the wind, but the very presence of the man who’s still obsessed by her.

Lillian Gish has come a long way since her days under famed movie director, D.W. Griffith, that began in 1912. After leaving Griffith by 1921, he ventured over to Metro by 1923. During her MGM years, her acting style not only improved, but Gish herself matured greatly as a serious actress. In a plot that echoes her earlier success of Griffith’s WAY DOWN EAST (1920), where Gish braved the forceful blizzard winds, this time she goes through extremes of forceful winds of sand, with realistic insane moments where she observes the every movement inside her cabin, and unable to move herself forward through the wind while outside making her escape. Because this is a silent movie, Swedish actor Lars Hanson gets away playing an American prairie man. Most scenes are nearly stolen by the villainous and sometimes scary performance by Montagu Love. Dorothy Cumming as the unfriendly wife also brings chills up and down one’s spine in the similar manner of other actress of the time, Gladys Brockwell. William Orlamond, who sometimes resembles that of Lucien Littlefield, is around for some comedy relief as the middle- aged farmer.

According to sources, THE WIND had little appeal to movie audiences back in 1928. THE WIND has fortunately aged well and stood the test of time, especially when it surfaced decades after its theatrical release. THE WIND did became a curiosity for many when the climatic windstorm segment involving Gish and Love was clipped into a segment of an 13- week, well-informed history of silent movies documentary “Hollywood” (1980) under the narration of James Mason. Availability to home video with Thames Orchestral Score conducted by Carl Davis in place of original 1928 soundtrack and sound effects went into release by 1988, with five minute introduction by Lillian Gish herself. THE WIND was soon followed by world television premiere on Turner Network Television (TNT) August 26, 1990, followed by another broadcast Christmas Eve (December 24, 1990) as part of its “Silent Night” silent movie festival. In later years THE WIND (at 77 minutes) enjoyed frequent broadcasts on Turner Classic Movies, where, through its revivals, continues to win the appreciation it lacked way back in 1928. (****)

Other Information:

Original Language en
Runtime 1 hr 35 min (95 min) (Sweden), 1 hr 19 min (79 min) (TCM print)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Drama, Romance, Thriller
Director Victor Sjöström
Writer Frances Marion, Dorothy Scarborough
Actors Lillian Gish, Lars Hanson, Montagu Love
Country United States
Awards 3 wins & 2 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Silent
Aspect Ratio 1.33 : 1
Camera N/A
Laboratory N/A
Film Length 2,048.55 m (8 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm