Griffith's pupils, Henry Walthall and Blanche Sweet, seem to me to be the greatest people in the photoplays: for one reason their faces are as sensitive to changing emotion as the surfaces of fair lakes in the wind.

There is a passage in Enoch Arden where Annie, impersonated by Lillian Gish, another pupil of Griffith, is waiting in suspense for the return of her husband.

She changes from lips of waiting, with a touch of apprehension, to a delighted laugh of welcome, her head making a half-turn toward the door.

The audience is so moved by the beauty of the slow change they do not know whether her face is the size of the screen or the size of a postage-stamp.

As a matter of fact it fills the whole end of the theatre.
Thus much as to faces that are not hieroglyphics.