| Photos (see all 2 | slideshow) |
| Lillian Gish | ... | Hester Prynne | |
| Lars Hanson | ... | The Reverend Arthur Dimmesdale | |
| Henry B. Walthall | ... | Roger Chillingworth | |
| Karl Dane | ... | Master Giles | |
| William H. Tooker | ... | The Governor | |
| Marcelle Corday | ... | Mistress Hibbins | |
| Fred Herzog | ... | The Jailer | |
| Jules Cowles | ... | The Beadle | |
| Mary Hawes | ... | Patience | |
| Joyce Coad | ... | Pearl | |
| James A. Marcus | ... | A Sea Captain | |
| rest of cast listed alphabetically: | |||
| Nora Cecil | ... | (uncredited) | |
| Dorothy Gray | ... | Child (uncredited) | |
| Margaret Mann | ... | (uncredited) | |
| Polly Moran | ... | Jeering Townswoman (uncredited) | |
| Chief Yowlachie | ... | Indian (uncredited) | |
Directed by | |||
| Victor Sjöström | (as Victor Seastrom) | ||
Writing credits | ||
| Nathaniel Hawthorne | (novel) | |
| Frances Marion | (adaptation and scenario) | |
| Frances Marion | (titles) | |
Produced by | |||
| Victor Sjöström | .... | producer (as Victor Seastrom) | |
Original Music by | |||
| Lisa Anne Miller | (2000) | ||
| Mark Northam | (2000) | ||
| William Axt | (uncredited) | ||
| David Mendoza | (uncredited) | ||
Cinematography by | |||
| Hendrik Sartov | (as Henrik Sartov) | ||
Film Editing by | |||
| Hugh Wynn | |||
Set Decoration by | |||
| Cedric Gibbons | (settings) | ||
| Sidney Ullman | (settings) | ||
Costume Design by | |||
| Max Rée | |||
Second Unit Director or Assistant Director | |||
| Harold S. Bucquet | .... | assistant director (as Harold Bucquet) | |
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| The Scarlet Letter | Journal d'un curé de campagne | Cristo si è fermato a Eboli | The Ice Storm | El crimen del padre Amaro |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb USA section | Add this title to MyMovies |
There just aren't enough words to describe the beautiful performances in this film....not that words are needed, then or now. Victor Seastrom's lovingly crafted scenes provide perfect visual frames for the transcendent performances of Lillian Gish and Lars Hanson. An artistic triumph for everyone concerned, and a bittersweet reminder of what was lost with the death of the art of the silent film. (The Turner restoration is alas, also bittersweet, as prints of wildly differing quality had to be "married" in order to create a substantially complete copy of the subject. Thus, viewers move from scenes that shimmer with pristine beauty to muddy, contrasty dupes. It's a tribute to the art of all concerned however, that this is not the distracting issue it might be with a lesser film. Like any work of art, you won't notice the cracks and flaws after a while if you're paying attention as you should. It's just a shame that the entire film isn't as mint-fresh as some of its scenes.)