In 1920 there were no ceremonies to award the best movies and performances of each year. I would like to remedy that. Based on reviews of the time, as well as having watched these films myself, I would like to highlight what I believe to be the best performances by an actress of the year 1920. Since award worthy accomplishments were rarely acknowledged one hundred years ago, I feel honoring the past, now, is better than never. Of course, with so many lost films and others unavailable to the public, it's impossible to know for sure what the best of the year actually was. These honors you are about to read come only from me, a humble fan who watches a lot of silent movies.
So let's start with what I believe to be the best female performances of 1920, beginning with LILLIAN GISH in "Way Down East."
With the exception of maybe Buster Keaton or Lon Chaney, nobody put more of themselves into a role than Ms Gish did. Her work in "Way Down East" is no exception. The harrowing climax set during a blizzard, featuring its female star adrift on a piece of ice heading toward a waterfall, was the real thing. There were no stunt doubles, fake props, or safe working conditions. Besides putting herself in physical danger, Lillian Gish's performance also takes her and the audience on an emotional ride. Her portrayal of a young innocent girl tricked into having sex, who then becomes pregnant and alone, is both heart breaking and empowering. I truly believe if the Oscars were around in 1920, Lillian Gish's performance in "Way Down East" would have been a contender.
Lillian Gish would have had fierce competition, though, from several other equally compelling actresses, beginning with OLIVE THOMAS for her work in "The Flapper."
The untimely death of Ms Thomas just four months after the film's release, is not a factor in "The Flapper" having one of the best female performances of 1920. Many young actresses became more well known than Olive Thomas for playing rebellious youth, but it was in "The Flapper" where audiences saw it first, setting the stage for Joan Crawford, Colleen Moore, Clara Bow, Louise Brooks, and countless others. Olive Thomas had "It" long before the term was invented, and her work in "The Flapper" is celluloid proof. Had she lived, I believe this gifted actress would be remembered for her talent instead of her death. And one can only speculate on how far her career may have gone. Based on her efforts in "The Flapper," I would say pretty far. However, hers wasn't the only female performance to open the eyes of the world to the ways women were becoming individuals of their own.
What Olive Thomas did for the female youth, TORA TEJE in the film, "Erotikon" did for sexual equality.
Before audiences discovered the sensuality of Greta Garbo, there was Tora Teje. And her performance in the film "Erotikon" is one of the more memorable ones of 1920. Although, tame by today's standards, her playful approach to marital infidelity must have been scandalous one hundred years ago. At the risk of sounding cliche, it is hard to keep your eyes off her in this film. There had been portrayals of bored wives before in the movies, but through Tora Teje's multi-layered characterization, we see not only first hand her frustrations with a loveless marriage, but also her bold attempts at managing her gnawing urge for physical intimacy. In the hands of another actress, her character could have easily become one dimensional and predictable, which is far from the case here.
While sex appeal certainly went along with the performances of the first three actresses profiled here, it was not a factor in the work of VERA GORDON in "Humoresque,"
Vera Gordon, the oldest of my nominees, wasn't even mentioned on the poster alongside her younger co-stars, Alma Rubens and Gaston Glass. However, her role as the strong-willed mother with dreams of her son escaping poverty through his musical talents, is the foundation of this wonderful film. Like today, unless already established, older actors rarely sustained a movie, but the success of "Humoresque" fell on the shoulders of Ms Gordon and she carries the film with grace, pathos, and honesty. Her name may not have been mentioned in the promotion of the movie, but it is the only one you will remember when finished viewing.
Another award worthy performance from 1920 which cannot be ignored is that of EVELYN PREER in "Within Our Gates."
Sadly, if the Oscars were held in 1920, Evelyn Preer would not have been nominated due to the color of her skin. These are my Oscars, though, and her work deserves to stand equal alongside the other deserving female performers of 1920. "Within Our Gates" is the intense tale of an African-American woman and her travels North to raise money for her southern rural school, only to discover that racism and white supremacy extend beyond the South. Ms Preer was popular with the black arts community, which dubbed her "The First Lady of the Screen," appearing regularly in what was called at the time, "Race Films." She was never given the opportunity to work in "White" Hollywood, which is shameful, for she would have been so good in "Uncle Tom's Cabin," opposed to the white actors that were cast in black face.
Not all of the top female performances of 1920 were in leading roles. I can think of two supporting players, whose work contributed greatly to the success of their films. The first is BARBARA BEDFORD in "Last of the Mohicans."
Ms Bedford's role as the kidnapped daughter of a Colonel, who offers her life to save her sister, is devastatingly painful to watch. Although not the star of the movie, it's the work of Barbara Bedford in this film that gives the audience an emotional sucker punch that takes quite a while to recover from. And even though she might not have had as much screen time as the others mentioned, Barbara Bedford's work in "Last of the Mohican's" deserves to be considered one of the best of 1920.
And finally there's BEBE DANIELS in "Why Change Your Wife?"
As the free spirited jazz baby that catches the eye of a married man, Ms Daniels manages to steal every scene she's in, including several with screen legend, Gloria Swanson. Good comic performances tend to get overlooked come awards season, but it's hard not to notice Bebe Daniels in "Why Change Your Wife?" Her charm is contagious and helps elevate this light romantic comedy to the award worthy level.
So who gets my imaginary Oscar for the best actress of 1920? They all do. How can a person pick one performance over another when all are deserving? And who's to say drama is harder than comedy? To the modern movie goer, most of these names mean nothing, but their work has given me, and countless others, such joy and admiration that the least I can do is to try to keep their contributions alive - starting with this blog you just read.
So let's start with what I believe to be the best female performances of 1920, beginning with LILLIAN GISH in "Way Down East."
 |
| Lillian Gish in "Way Down East" |
With the exception of maybe Buster Keaton or Lon Chaney, nobody put more of themselves into a role than Ms Gish did. Her work in "Way Down East" is no exception. The harrowing climax set during a blizzard, featuring its female star adrift on a piece of ice heading toward a waterfall, was the real thing. There were no stunt doubles, fake props, or safe working conditions. Besides putting herself in physical danger, Lillian Gish's performance also takes her and the audience on an emotional ride. Her portrayal of a young innocent girl tricked into having sex, who then becomes pregnant and alone, is both heart breaking and empowering. I truly believe if the Oscars were around in 1920, Lillian Gish's performance in "Way Down East" would have been a contender.
Lillian Gish would have had fierce competition, though, from several other equally compelling actresses, beginning with OLIVE THOMAS for her work in "The Flapper."
 |
| Olive Thomas in "The Flapper" |
The untimely death of Ms Thomas just four months after the film's release, is not a factor in "The Flapper" having one of the best female performances of 1920. Many young actresses became more well known than Olive Thomas for playing rebellious youth, but it was in "The Flapper" where audiences saw it first, setting the stage for Joan Crawford, Colleen Moore, Clara Bow, Louise Brooks, and countless others. Olive Thomas had "It" long before the term was invented, and her work in "The Flapper" is celluloid proof. Had she lived, I believe this gifted actress would be remembered for her talent instead of her death. And one can only speculate on how far her career may have gone. Based on her efforts in "The Flapper," I would say pretty far. However, hers wasn't the only female performance to open the eyes of the world to the ways women were becoming individuals of their own.
What Olive Thomas did for the female youth, TORA TEJE in the film, "Erotikon" did for sexual equality.
 |
| Tora Teje in "Erotikon" |
Before audiences discovered the sensuality of Greta Garbo, there was Tora Teje. And her performance in the film "Erotikon" is one of the more memorable ones of 1920. Although, tame by today's standards, her playful approach to marital infidelity must have been scandalous one hundred years ago. At the risk of sounding cliche, it is hard to keep your eyes off her in this film. There had been portrayals of bored wives before in the movies, but through Tora Teje's multi-layered characterization, we see not only first hand her frustrations with a loveless marriage, but also her bold attempts at managing her gnawing urge for physical intimacy. In the hands of another actress, her character could have easily become one dimensional and predictable, which is far from the case here.
While sex appeal certainly went along with the performances of the first three actresses profiled here, it was not a factor in the work of VERA GORDON in "Humoresque,"
 |
| Vera Gordon in "Humoresque" |
Vera Gordon, the oldest of my nominees, wasn't even mentioned on the poster alongside her younger co-stars, Alma Rubens and Gaston Glass. However, her role as the strong-willed mother with dreams of her son escaping poverty through his musical talents, is the foundation of this wonderful film. Like today, unless already established, older actors rarely sustained a movie, but the success of "Humoresque" fell on the shoulders of Ms Gordon and she carries the film with grace, pathos, and honesty. Her name may not have been mentioned in the promotion of the movie, but it is the only one you will remember when finished viewing.
Another award worthy performance from 1920 which cannot be ignored is that of EVELYN PREER in "Within Our Gates."
 |
| Evelyn Preer in "Within Our Gates" |
Sadly, if the Oscars were held in 1920, Evelyn Preer would not have been nominated due to the color of her skin. These are my Oscars, though, and her work deserves to stand equal alongside the other deserving female performers of 1920. "Within Our Gates" is the intense tale of an African-American woman and her travels North to raise money for her southern rural school, only to discover that racism and white supremacy extend beyond the South. Ms Preer was popular with the black arts community, which dubbed her "The First Lady of the Screen," appearing regularly in what was called at the time, "Race Films." She was never given the opportunity to work in "White" Hollywood, which is shameful, for she would have been so good in "Uncle Tom's Cabin," opposed to the white actors that were cast in black face.
Not all of the top female performances of 1920 were in leading roles. I can think of two supporting players, whose work contributed greatly to the success of their films. The first is BARBARA BEDFORD in "Last of the Mohicans."
 |
| Barbara Bedford in "Last of the Mohicans" |
Ms Bedford's role as the kidnapped daughter of a Colonel, who offers her life to save her sister, is devastatingly painful to watch. Although not the star of the movie, it's the work of Barbara Bedford in this film that gives the audience an emotional sucker punch that takes quite a while to recover from. And even though she might not have had as much screen time as the others mentioned, Barbara Bedford's work in "Last of the Mohican's" deserves to be considered one of the best of 1920.
And finally there's BEBE DANIELS in "Why Change Your Wife?"
 |
| Bebe Daniels in "Why Change Your Wife" |
As the free spirited jazz baby that catches the eye of a married man, Ms Daniels manages to steal every scene she's in, including several with screen legend, Gloria Swanson. Good comic performances tend to get overlooked come awards season, but it's hard not to notice Bebe Daniels in "Why Change Your Wife?" Her charm is contagious and helps elevate this light romantic comedy to the award worthy level.
So who gets my imaginary Oscar for the best actress of 1920? They all do. How can a person pick one performance over another when all are deserving? And who's to say drama is harder than comedy? To the modern movie goer, most of these names mean nothing, but their work has given me, and countless others, such joy and admiration that the least I can do is to try to keep their contributions alive - starting with this blog you just read.
there is always something haunting about the old movie stars. Im getting a craving to watch some golden oldies. Thank you for this cool blog.
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