The stereotypical acting seen in early silent movies captures performers constantly overdramatizing, even when situations in the narratives don't call for such emoting. Several reasons for this overextension of these physical dramatics include the thespian methodology of the Victorian stage. Poor acoustics in most theaters required actors to loudly verbalize as well as to show visually the patrons sitting in the back seats the drama unfolding far from them. Also, with a lack of "dialogue title cards," silent movie actors had to reflect their feelings with body language the spoken word would normally convey in real life.
D. W. Griffith changed all that. His films were moving towards the direction of actors expressing less with their bodies and more with their faces--hence, he was physically moving his camera in closer to his performers instead of remaining stationary on the standard wide shot.
In a leap forward in dramatizing his plot by showing the angst of his actress, Griffith had Lillian Gish in June 1913's "The Mothering Heart" break the mold of physicality by filming her acting in a subtle, restrained rendering of a pained wife and new mother dealing with a cheating husband, played by Walter Miller.
Not that such a performance hadn't been captured on celluloid before. But Gish's mannerisms throughout the movie reflected a new style of acting rarely seen on the screen up until then. The anguish she undergoes is visibly noticed in each step of her discovery her husband has been philandering behind her back. She suspects the relationship when he doesn't return home from work at his normal time, then finding hard evidence of a female's handkerchief in his pocket, then witnessing him getting into his mistress' car. At each step, Gish conveys via her face and body language deep hurt. As a true, strong woman, she is able to take decisive steps to counter her husband's infidelity, all the while refraining from uncontrollable gestures (except for a brief wild release of emotions at the outdoor plants) normally captured in early film of actors in similar situations.
The cinematic world took notice of Gish's performance in "The Mothering Heart," and from this point onwards, silent movie actors began to taper their excessive movements and learn how to express their innermost feelings by facial expressions.
D. W. Griffith changed all that. His films were moving towards the direction of actors expressing less with their bodies and more with their faces--hence, he was physically moving his camera in closer to his performers instead of remaining stationary on the standard wide shot.
In a leap forward in dramatizing his plot by showing the angst of his actress, Griffith had Lillian Gish in June 1913's "The Mothering Heart" break the mold of physicality by filming her acting in a subtle, restrained rendering of a pained wife and new mother dealing with a cheating husband, played by Walter Miller.
Not that such a performance hadn't been captured on celluloid before. But Gish's mannerisms throughout the movie reflected a new style of acting rarely seen on the screen up until then. The anguish she undergoes is visibly noticed in each step of her discovery her husband has been philandering behind her back. She suspects the relationship when he doesn't return home from work at his normal time, then finding hard evidence of a female's handkerchief in his pocket, then witnessing him getting into his mistress' car. At each step, Gish conveys via her face and body language deep hurt. As a true, strong woman, she is able to take decisive steps to counter her husband's infidelity, all the while refraining from uncontrollable gestures (except for a brief wild release of emotions at the outdoor plants) normally captured in early film of actors in similar situations.
The cinematic world took notice of Gish's performance in "The Mothering Heart," and from this point onwards, silent movie actors began to taper their excessive movements and learn how to express their innermost feelings by facial expressions.