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Orphans of the Storm

Orphans of the Storm

Drama · History · Romance · 1921

France, on the eve of the French Revolution. Henriette and Louise have been raised together as sisters. When the plague that takes their parents' lives causes Louise's blindness, they decide to travel to Paris in search of a cure, but they separate when a lustful aristocrat crosses their path.

Movie details

Orphans of the Storm

“A dramatic epic”

1921 Drama · History · Romance 2h 30m

Critical arithmetic

The consensus, allegedly.

IMDb

7.3 / 10

5.6K votes

Rotten Tomatoes

88 %

Tomatometer

TMDB

6.8 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

France, on the eve of the French Revolution. Henriette and Louise have been raised together as sisters. When the plague that takes their parents' lives causes Louise's blindness, they decide to travel to Paris in search of a cure, but they separate when a lustful aristocrat crosses their path.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Orphans of the Storm?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

D.W. Griffith

Written by

D.W. Griffith

Lillian Gish

Lillian Gish

Henriette Girard

Dorothy Gish

Dorothy Gish

Louise Girard

Joseph Schildkraut

Joseph Schildkraut

Chevalier de Vaudrey

Creighton Hale

Creighton Hale

Picard

Monte Blue

Monte Blue

Danton

Sidney Herbert

Sidney Herbert

Robespierre

Lucille La Verne

Lucille La Verne

Mother Frochard

Court is in session

Put Orphans of the Storm on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.