Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Asad Almond A clunky actioner with a handful of cool moments.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

dbdumonteil "The wind" was the second silent movie I had seen just after "Metropolis" ,along time ago;when I saw it again last week,I was not sure I would be so enthused over it.And I was wrong."The wind" remains one of the few silent movies which holds up well today.Lilian Gish was without a doubt the greatest actress of the silent era,and her career spanned the whole 20th centuries,encompassing memorable talkies such as "the night of the hunter " and " a wedding";without words ,she could express everything but she never,even in her more tragic scenes succumbed to self-pity - remember her firm stand against the rotten aristocracy in DW Griffith's "Orphans in the storm".Matching her every step of the way is Lars Hanson's generous husband,ready to sacrifice his own happiness -in a way close to Frank Borzage's characters-"The wind" is ,in turn,a melodrama (the sister-in-law ,envious and spiteful,resents the fact that that intruder steals cousin's and t children 's affection ),a western (the long rides in the desolate landscape and these wild horses ,with impressive pictures inspired by Sjostrom's/Seastrom's previous experiments ("Körkalen",1920),a thriller (Gish and Love ,who tries to rape her) ,a horror movie (the last minutes,when the dead seems to rise from his grave."The wind" is all this and more;since nobody was able to make us FEEL the presence of the wind like the great director did;it's really a character in itself ,and not always an enemy (Lige's last sentence).The viewer really feels it on his skin ,he hears the shutter beat in the storm ,he sees it come into the house .The coming of the talkies made "the wind" a commercial failure ;but its influence was important (William Wyler's "wuthering heights" ,and in France ,Yves Allégret tried to use rain -"Une Si Jolie Petite Plage"- in a similar way)

framptonhollis Victor Sjostrom is a quite famous filmmaker. He is normally known as the greatest Swedish filmmaker before the Ingmar Bergman era (FUN FACT: Sjostrom starred in Bergman's famous drama film "Wild Strawberries").The fact that Victor Sjostrom directed this work is what drew me to the film when I saw that it was playing on TCM, and I very much enjoyed it. It is quite the slow mover at times, but when it packs an emotional punch, it does it very well. The film is even better on a visual level! At times, the visuals in this film are almost experimental and very surreal. On a technical level, this film deserves a lot of credit. In the intro done by the lead actress in the film, Lillian Gish, she says that this was possibly the most uncomfortable experience she had making a film, and, considering it was shot on location, that certainly seems correct! Certain sequences are really amazing, and the film has a very short runtime, it is only a bit over 90 minutes, so just watch it! It is a great silent western and I'm glad I saw it.

Polaris_DiB Too often Lillian Gish is associated solely with DW Griffith, despite a career spanning 75 years and her own unique talents. The Wind is an example of what Gish is all about, being that she championed (basically produced) the whole thing, script, director, and all.Victor Sjostrom is mentionable as well, providing a unique and poetic visual background for the story. The funny thing about sand is that it's very film-friendly in subject (though perhaps not so friendly to the equipment)--think film grain, think Woman in the Dunes, think Lawrence of Arabia. Here he creates a claustrophobic snow-globe out of it, literally blocking the action around where the sand blows. Superb use of double-exposure, especially while over Gish's writhing, demented face, is about as close as cinema has gotten to true nightmare feeling until Deren made Meshes of the Afternoon.The ending is rather unfortunate. The story goes that it was forced to be a happy ending by the studios, and whether that's true or not, it clearly doesn't fit the tone or the theme. It's an awkward reversal of everything that's been built up previously, and it leaves a bad taste in ones mouth.But the rest of the film is pure cinematic glory. A must see, honestly.--PolarisDiB

Jem Odewahn THE WIND is quite simply one of the most brilliant silent films, certainly one of the best I have ever see. Looking back on it now, for me the film is on a par with Murnau's amazing SUNRISE: A SONG OF TWO HUMANS.Lillian Gish is amazing- could anyone project utter terror as well? Miss Gish needs no words to convey her character Letty's emotions. Just watch her face. The film is so atmospheric, you can literally taste the dust that everyone is flicking off their clothes, spitting out of their mouths and breathing in every time they open the door. It's a beautiful film, and the big scenes (Gish killing her rapist) are matched very well by the smaller, poignant moments such as Cora (Dorothy Cumming) reaching out her hands to her child, who runs instead to Gish. Lars Hanson (whom I have never heard of before) is also excellent as Lirge, the husband whom Gish is forced into marrying. His muted reaction when her learns Gish has not married out of him love is heartbreaking.THE WIND contains some of the most haunting images put on film, with the superimposition of the silvery, ghostly horses seemingly galloping up and becoming part of the wind, nature's force, unforgettable. Don't miss this wonderful film!