Intolerance: Love's Struggle Throughout the Ages

1916

Drama / History

179
IMDb Rating 7.8 10 13,850

Synopsis


Downloaded times
August 26, 2020

Director

Cast

Donald Crisp as Extra
Erich von Stroheim as Second Pharisee
Eugene Pallette as Prosper Latour
Lillian Gish as The Woman Who Rocks the Cradle / Eternal Mother
720p.BLU 1080p.BLU
1.5 GB
1280*720
English 2.0
NR
23.976 fps
197 min
P/S N/A / N/A
3.09 GB
1920×1080
English 2.0
NR
23.976 fps
197 min
P/S N/A / N/A

Movie Reviews

Reviewed by drednm 10 / 10 / 10

Possibly the Greatest Film of All Time

This mammoth production and DW Griffith's 1916 masterpiece was his followup to The Birth of a Nation. Intolerance blends 4 stories of historical intolerance as a warning against the current-day evils of war. The French and Judean stories are OK. The Babylonian and Modern stories are spectacular. Where Griffith experimented with closeups and intercutting stories in Birth of a Nation, these techniques are mastered in Intolerance. Griffith also continues his incredible eye for composition and scenery and costumes in this epic film. The sets and costumes for the Babylonian story are among the best in film history. And the battle scenes equal anything in Birth of a Nation. Griffith's Babylonian set is so huge it allows for horse-drawn chariots to ride side by side on the road at the top of the towering walls. The camera shot that shows the chariots and the battle many stories below is astounding. There is also the famous camera shot that slowly moves closer and closer the the city steps and gates where hundreds of dancers perform a pagan production number. Just amazing. The emotional oomph of this film comes from the modern story where a young couple living in a tenement apartment almost gets destroyed by society do-gooders. The intercutting of scenes here is masterful as the rescuers race to save the hero who is about to be hanged. Melodrama to be sure, but in a form never seen before 1916. And as usual Griffith assembles a terrific cast and elicits great performances from many of them. Constance Talmadge plays the cinema's first feminist heroine as the Mountain Girl in the Babylonian story. She's wonderful as the saucy girl who eats onions while on the block to be sold as a slave. As the men come near to examine her (she's dressed in a pelt) she shakes her onions at them and kicks at them. Hilarious. The story is complicated but she overhears a plot to attack the city and the ruler (who set her free) she adores. Great scenes of Talmadge racing a chariot through the desert. Great battle scenes that are unforgettable. Great orgy scenes. This is just a wonderful story that is so eye-filling, you have to watch it several times to take everything in. The modern story boasts a perfect performance by Mae Marsh as the "Dear One." Robert Harron is the husband, and Miriam Cooper (very underrated) is the "bad girl." One of the most harrowing scenes I can remember is when the "do-gooders" (headed by Vera Lewis) come to take Marsh's baby after Harron is falsely arrest for murder. Marsh is so realistic in this frenzied scene that your heart just stops. Harron is also excellent as the hapless boy who gets framed for murder. The editing of this arc of the film sets the standard for decades to come. Intolerance must be seen by any serious film buff. It's a long film but is unforgettable. The cast list is impressive and includes the above-mentioned Constance Talmadge, Mae Marsh, Robert Harron, Miriam Cooper, Lillian Gish, Vera Lewis, Ralph Lewis, Douglas Fairbanks, Bessie Love, Wallace Reid, Elmo Lincoln, Elmer Clifton, Mary Alden, Constance Collier, Carmel Myers, Erich von Stroheim, Donald Crisp, Carol Dempster, Marguerite Marsh, Tully Marshall, Natalie Talmadge, Alma Rubens, Seena Owen, Margery Wilson, Eugene Palette, Ethel Grey Terry, Owen Moore, Alfred Paget, Joseph Henabery, Josephine Crowell, Ruth St. Denis, Ted Shawn, Mildred Harris, Walter Long, Sam De Grasse, Monte Blue, Kate Bruce, Nigel De Brulier, Pauline Starke, Lillian Langdon, and future directors King Vidor, Frank Borzage, and Tod Browning!

Reviewed by Cineanalyst 10 / 10 / 10

Monumental Failure

"Intolerance" is D.W. Griffith's apologia for "The Birth of a Nation" mostly in that it surpasses its predecessor's epic scale, thus replying to his critics. "The Birth of a Nation" was a racist film, and nothing in "Intolerance" proves otherwise, but I don't think that's the point, either. And, while Griffith calls his critics hypocrites, it's just as easy to call Griffith one for his racism. Yet, I have no disagreement that his films are art despite their messages. "Intolerance" contains much more agreeable views than "The Birth of a Nation", anyhow: Christian pacifism; support of labor; moderated progressivism; and condemnation of intolerance, hatred and inhumanity throughout the ages. The narrative structure of "Intolerance" was revolutionary and particularly surprising for a filmmaker who had cemented in cinema a traditional and theatrical form of linear storytelling with his previous work. In "Home, Sweet Home" (1914), Griffith linked four separate stories with a single theme, but with each story told in full before proceeding to the next. With "Intolerance", he employed parallel editing, thus continually crosscutting between time, suspending plots and commenting on stories with other stories, and I think it's ingeniously congruent considering the stories are supposed to run parallel in their morals, or messages on the general theme of intolerance. The four stories include a modern story, which features a fictional representation of the Ludlow massacre of strikers and a progressive era foundation of busybody reformers that indirectly causes the massacre and directly applies suffering on the central characters. It was originally intended as a complete film in itself and was later released as such under the title "The Mother and the Law". Then, there's the Babylonian story, which was also released by itself, as "The Fall of Babylon". It almost seems to be more likely to have been directed by Cecil B. DeMille than by D.W. Griffith, for all its sex and exotic set design against a historical setting. A contemporary of Griffith, however, DeMille had not yet figured out that formula and may well have been thinking of the Babylonian sequences in "Intolerance" when he did; one of his early pictures and first attempts at an epic, "Joan the Woman" (1917), does demonstrate Griffith's influence on him. Additionally, the sequence features the best performance in the film by ingénue Constance Talmadge as the "Mountain Girl". She, too, seems out of place in a Griffith production, with her sexuality, impropriety and independence. The lesser stories of Christ's life and his crucifixion and the events leading up to the St. Bartholomew's Day Massacre aren't especially interesting in themselves, as many have panned. Yet, I don't think that's essential, as they don't stand by themselves, but are part of a whole where they comment on and run parallel to each other and the other narratives. The stories are connected by explanatory, as well as moralizing and poetical, intertitles and by glimpses of Lillian Gish endlessly rocking the cradle (taken from Walt Whitman). Reportedly, tinting also separated the stories upon initial release. Nearing the climax, however, these separations and transitions evaporate for an ever more merging and rapider plot. "Intolerance" is the apex of Griffith's innovations and developments in editing--the culmination of his achievements in "The Birth of a Nation" and his last-minute-rescue pictures and other Biograph shorts. Along the way, it was usually James and Rose Smith who aided him in the editing room. Doubtless, these achievements, especially in "Intolerance", greatly influenced the Soviet and European montage filmmakers, as well as subsequent filmmaking in general. With the astounding success of "The Birth of a Nation", Griffith had the opportunity to make almost any film he wanted, and with "Intolerance" having cost nearly $400,000 to make, he did. (The some $100,000 budget for "The Birth of a Nation" had been unheard of in Hollywood.) The film's failure financially ruined Triangle Studios and considerably altered and limited Griffith's filmmaking career from thereon. As "The Birth of a Nation" demonstrated to Hollywood and the world how profitable and popular cinema could be, "Intolerance" told another important lesson on the risks and limitations involved. Consuming much of the film's budget were Walter L. Hall's Babylon sets, and they are spectacular. They're also surprisingly imaginative and elaborate for D.W. Griffith, whose stagy, open-air sets in previous productions were generally unremarkable--besides those in "Judith of Bethulia" (1914), which pale in comparison. The influence of "Cabiria" (1914) is very evident, but where that film failed to equal the brilliance of its sets with the filming of them, "Intolerance" succeeds. The legendary crane shots are standouts. Throughout the film, cinematographer "Billy" Bitzer masks the camera lens--more extensively than ever before--creating iris shots, a moving iris shot within a stationary shot and small-scale widescreen effects. Griffith and Bitzer are very much in control of the images, establishing us as spectators. The Babylonian scenes where characters look down at miniatures of the city, I think, also add to this emphasis. And, "Intolerance" is quite a spectacle, especially the Babylonian scenes. Overall, the cinematography, such as some extreme close-ups, is innovative and advanced. Additionally, Griffith and Bitzer once again proved themselves masters of filming battle scenes. "Cabiria" and the other Italian epics were a great impetus for Griffith to have embarked on his own two epic masterpieces, but the Italian epics were merely super-theatrical, with "Cabiria" as its apex and somewhat of a bridge to Griffith making the epic a cinematic art and a cornerstone of the industry. Moreover, from his pioneering short films at Biograph, to the epics "The Birth of a Nation" and "Intolerance", and to a lesser extent, his work thereafter, nobody has had a greater influence on the course cinema would take than D.W. Griffith.

Reviewed by lugonian 10 / 10 / 10

Love's struggle through the ages

"Intolerance" (Wark Producing Corporation, 1916), directed by D.W. Griffith, became an immediate follow-up to the director's previous effort, a civil war story titled "The Birth of a Nation" (1915), using many of the same actors including Lillian Gish, Mae Marsh, Miriam Cooper, among others. Of the two, I find "Intolerance" the most interesting, mainly because of its advance style in story telling. Yet, "Intolerance" did not become as successful nor controversial as "The Birth of a Nation" when first released. "Intolerance" consists of four separate stories into one movie, but what's unusual about it is that the stories are not told episodically, but presented simultaneously in parallel action, linked together with Lillian Gish as the mother rocking her cradle. The stories consist of THE MODERN STORY, THE JUDEAN STORY, THE FRENCH STORY and finally THE BABYLONIAN STORY. Of the four, only THE JUDEAN STORY is the shortest and less detailed, featuring the life of Jesus Christ, as played by Howard Gaye. THE MODERN STORY, starring Mae Marsh and Robert Harron, finds the young couple getting married, followed by the husband resorting to life of crime when unable to find work, and later accused of a murder he did not commit; THE FRENCH STORY is set during the Middle Ages with Brown Eyes (Margery Wilson) and Prosper Latour (Eugene Palette) of religious intolerance under the regime of Catherine De Medici (Josephine Crowell); and THE BABYLONIAN STORY finds the Mountain Girl (Constance Talmadge) treated kindly by Belshazzar (Alfred Paget) when she is forced by the judicial system to appear on the marriage market, and falls in love with her prince. The battle scenes in this segment are well staged, considering the time of when this movie was produced. The Belshazzar's Banquet Hall set is the most famous sequence of all, shown many times as a film clip segment in several documentaries about silent films. The sets are lavish and the expense of this production shows. In spite of some hokey acting and title cards, which was taken seriously by 1916 standards, it's still a worthy viewing, especially for film scholars. Of all the actors who have appeared in this production, and there are too many to mention, the one who's most remembered long after the film is over is the one with less footage, Lillian Gish. "Intolerance" is available on video in several different versions. Besides public domain videos with bad copies and no music score whatsoever, the three noted mentions include, (1) The former Blackhawk Video Company distributed it in the 1980s at 135 minutes accompanied with clear picture, an organ score and intermission. The opening titles of that print claims it to be the most complete copy, which includes the list of cast actors and their roles. (2) When Blackhawk merged with Republic Video several years later, it presented another copy, a shorter but almost clearer print running at 121 minutes accompanied with a good piano score and tinted picture, but minus the listing of the cast of actors and their roles. This was the copy used for the Public Television presentation of "The Silent Years" (1971), as hosted by Orson Welles. (3) Then there is another video copy, compliments of Kino Video, which runs at silent accu-speed, making it as long as three hours, color tints, accompanied with organ score, this version which can be seen on Turner Classic Movies. With several video copies currently available, it would certainly make a difference as to which one would make watching this movie enjoyable. On a personal level, I'd recommend No. 2, the Republic Video copy with the piano score. "Intolerance" can almost be said to be the first all-star movie production. But for what it's worth, this epic should rank as one of the greatest of all silent films. It's amazing that it wasn't named as one of the 100 Greatest American Movies of the twentieth century by the American Film Institute. Maybe a proposed TV special on the selection of 100 Greatest Silent Movies of All Time will amend that (****)

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