Isn't Life Wonderful

After "The Great War" (later called "World War I"), unfortunately orphaned Carol Dempster (as Inga) goes to Germany, with an also-on-the-move homeless Polish family. There, she waits for handsome soldier Neil Hamilton (as Paul), childhood sweetheart from her "adopted" family. So, living virtuously must have been difficult for the couple, since they grew up together. Presently, Ms. Dempster and Mr. Hamilton find their changes for happiness averted by devastating post-war conditions…

Absent collaborators G.W. Bitzer, Robert Harron, and Lillian Gish might have given director D.W. Griffith another masterpiece with "Isn't Life Wonderful". His closest film-making partner was, by now, protégée Dempster. One of the problems with Dempster is evident herein - note the scene where she forces herself to "smile" while Mr. Hamilton is bedridden; this acting business is swiped from Ms. Gish's "smile" in "Broken Blossoms" (1919); and, Hamilton is directed to act like Mr. Harron.

This doesn't mean Dempster and Hamilton aren't adequate in the parts - but one of Mr. Griffith's problems was pigeonholing an actress like Dempster into something she was not. Griffith directed a "type" - the old lady, the mother, the virginal heroine, the suitor, etc. Herein, he is obviously directing his cast to act like the "types" co-created with performers like Gish and Harron; and, he incorrectly assumes one performer (Dempster) is able to deliver the same kind of performance as another (Gish).

This thematically beautiful film was said to be Griffith's apology for his ostensibly pro-War and necessarily anti-German "Hearts of the World" (1918, with Harron and Gish). But, Griffith apologists should have looked at "Hearts" more closely, and beat a hasty retreat; because, the turnaround began within that film. Like a war weary world, Griffith foresaw a pacifist mood. He knew how to be both ahead of the curve and behind the times; pulling no punches, "Isn't Life Wonderful" serves up blistering pessimistic optimism.

******* Isn't Life Wonderful (11/23/24) D.W. Griffith ~ Carol Dempster, Neil Hamilton, Lupino Lane, Frank Puglia

Isn't Life Wonderful is the type of small-scale drama that Griffith excelled at, and this particular one, though a bit too stretched out, still managed to be effective (and affecting). The basic story is of a family of Polish refugees in post-WWI Germany who do their best to survive economic uncertainty. What keeps them going, and is the main theme of the film, is their love for each other. While that might seem trite or cliched on paper, hardly any of it is overplayed. In fact, I see the basic themes in the film still having resonance today, even if the cultural specificity is a little outdated. Of note to me was the simple way that this was photographed, with camera movement reserved for the most dramatically intense moments. I also responded to the score, which was arranged for piano and violin from the original 1924 score. The best part was how different recognizable folk tunes and classical pieces were used as motifs throughout. And while most of the most emotionally impactful moments occurred in the first half, this was overall quite an uplifting drama that represents the best aspect of what Griffith had to offer cinema.

Griffith does a really good job of showing the horrors of war as they relate to the masses and then personalizing it. We are focused mostly on a family that has connections to all the implications of the First World War. Our primary focus is on lovers, the woman in waiting, and the man with scorched lungs from a gas attack. This war was probably the most devastating ever fought because of the dirty conditions and the hand to hand combat. The Germans used poison mustard gas which killed and maimed. And yet this film has a positive message because humans are resilient and manage to move forward no matter how horrible the cost. A more mature D. W. Griffith film.

A disclaimer that appears at the beginning of this film may strike latter-day viewers as oddly worded. We're told first that we're going to see a tale of love triumphing over adversity, but then a second title card asserts that "the story is laid in Germany only because conditions there were most favorable for showing the triumph of love over hardship." The tone is unmistakably defensive, for director D.W. Griffith must have known that a story set in Berlin and focused on the desperate struggles of its defeated populace might not go over well in the U.S., or the other nations of the former Alliance. Six years after the end of the Great War there was still considerable hostility towards the Germans, which might explain why the characters at the center of Isn't Life Wonderful are presented as Polish refugees who have resettled in Copenick, a suburb of Berlin. Griffith adapted his screenplay from a short story by Geoffrey Moss, an Englishman and veteran who lived in Germany after the war, and was appalled by the suffering he observed among the common people. It is to the credit of both Moss and Griffith that they were able to put aside wartime chauvinism and sympathize with the plight of the former enemy, even if Griffith felt it necessary to blur the nationality of his fictional family. Plenty of Americans, Britons, French, and others were indifferent to severe conditions in Germany at this time, or if anything felt that the Huns had it coming. Griffith couldn't have expected a box office bonanza from this bleak drama nor did he get one, but he was courageous to make the film at this point in history, and it stands today as his best work of the period.

We follow the daily life of an average, beleaguered family (a professor, his wife and mother-in-law, their sons, and an adopted daughter) as they struggle to feed themselves, find work, and survive. Inga, the daughter, is an orphan who is in love with Paul, a veteran who comes home from the war with lungs damaged by mustard gas. In these early scenes the pacing is very slow, and everyone appears to be dazed. This feels dramatically appropriate, but also signals viewers that this film isn't going to be an easy ride, and that we'll need to adjust our expectations accordingly. As we get to know the characters we share in their setbacks and triumphs. Eventually, as Paul and Inga plan to get married and move into a small cottage we want to see their plans succeed, but feel anxious about their prospects. Paul is allotted a piece of land and manages to grow a modest-sized crop of potatoes, and we are given to understand that the couple's future hinges on the income that results. But we also know that food is scarce in Berlin, and that gangs of hungry men have been roaming the countryside attacking profiteers and taking their produce. As Paul and Inga haul their potatoes through the woods in a cart we fear for their safety, and their confrontation with the gang makes for a genuinely suspenseful climax. The film ends on a hopeful note, but the over all picture of post-war German society is grim.

When critics and historians speak of D.W. Griffith's artistic decline in the 1920s they often cite his insistence on featuring Carol Dempster in film after film as a major factor. Dempster, who was apparently the director's paramour at the time, was a rather plain-looking woman who is not especially appealing in most of her appearances, but it must be said she gives a strong performance in Isn't Life Wonderful. Of course, the role didn't call for movie star glamour: Inga is an ordinary woman struggling with the most basic problems. Dempster is particularly good in one of the film's most memorable sequences, a desperate attempt to buy food during the period of the "Great Inflation," stuck in line and watching in growing despair as the price rises beyond her ability to pay before she can get inside to make a purchase.

It's notable that when we first learn of the roving criminal gangs the director makes a point of humanizing them, rather than depicting them as thugs. We see a large, shabbily dressed man promise his wife that he'll bring her food, and later when the gangs are roaming the countryside we note that this man is one of the leaders. They're not animals, they're hungry, unemployed men -- most of whom are veterans. When Inga calls them beasts this man replies that war and years of hell have made them beasts. It's chilling to think of what the future held for Germany, and for men like these, when this film was made in 1924. Griffith filmed a number of scenes on location, an unusual practice at the time, and when he returned to the United States he wrote a letter to an associate in which he said "Germany must be restored or else Europe is lost." Unfortunately, he was dead right about that. Isn't Life Wonderful is a powerful drama that not only examines the ugly aftermath of one cataclysmic war, but unknowingly sets the stage for another that would prove to be even worse.

Well, after seeing this D. W. Griffith film, it seemed very odd to me that the same director who apparently despised Black people had a very sensitive place in his heart for the German-speaking people following WWI. By the way, if you don't believe me about the "despised Black people" comment, try watching his films BIRTH OF A NATION and HIS TRUST. In both films, the Black actors are in fact Whites wearing makeup. In BIRTH OF A NATION, Blacks are shown as being evil and lazy and out to rape the White women if left unchecked by the wonderful KKK. In HIS TRUST, a Black slave acts like a lapdog in his devotion to his White "betters".

So, despite this awful baggage, it was shocking to see how favorably the former enemy were treated in this film. The main characters are Germans who had lived in land previously part of the old Germany--now part of Poland. They moved back to their ethnic homeland and settled into an impoverished Berlin. This sensitivity towards America's former enemy actually mirrored the change in attitude in general in the US, as people were now reassessing their role in the war and many felt, in hindsight, that we should have just stayed neutral.

The film shows the daily privations of this family as they just try to survive. Starvation and the difficulties of existing, interestingly enough, do NOT destroy or diminish their humanity--though it does do this to some of their fellow countrymen. This abiding faith and goodness in the face of adversity is why the film is entitled "ISN'T LIFE WONDERFUL". And, despite Griffith's tendency to often use "schmaltz" and heavy-handed melodrama in his films, this is a pretty restrained and beautiful movie.