Intolerance | |
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![]() Theatrical poster | |
Directed by | D. W. Griffith |
Written by | D. W. Griffith Hettie Gray Baker Tod Browning Anita Loos Mary H. O'Connor Frank E. Woods |
Produced by | D. W. Griffith |
Starring | Vera Lewis Ralph Lewis Mae Marsh Robert Harron Constance Talmadge Lillian Gish Josephine Crowell Margery Wilson Frank Bennett Elmer Clifton Miriam Cooper Alfred Paget |
Cinematography | Billy Bitzer |
Edited by | D. W. Griffith James Smith Rose Smith |
Music by | Joseph Carl Breil Julián Carrillo Carl Davis (for 1989 restoration) |
Distributed by | Triangle Distributing Corporation |
Release date |
|
Running time | 210 minutes (original release) 197 minutes (most surviving cuts) |
Country | United States |
Language | Silent (English intertitles) |
Budget | $385,907[1] |
Box office | $1.75 million (theatrical rental) |
Intolerance is a 1916 epic silent film directed by D. W. Griffith. Subtitles include Love's Struggle Throughout the Ages and A Sun-Play of the Ages.[2][3]
Regarded as one of the most influential films of the silent era (though it received mixed reviews at the time),[4] the three-and-a-half-hour epic intercuts four parallel storylines, each separated by several centuries: first, a contemporary melodrama of crime and redemption; second, a Judean story: Christ's mission and death; third, a French story: the events surrounding the St. Bartholomew's Day massacre of 1572; and fourth, a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own distinctive color tint in the original print.[3] The scenes are linked by shots of a figure representing Eternal Motherhood, rocking a cradle.[3]
Griffith chose to explore the theme of intolerance partly in response to his previous film The Birth of a Nation (1915) being derided by the NAACP and others for perpetuating and supporting racial stereotypes and glorifying the Ku Klux Klan.[5][6] Intolerance was not, however, an apology, as Griffith felt he had nothing to apologize for;[4] in numerous interviews, Griffith made clear that the film was a rebuttal to his critics and he felt that they were, in fact, the intolerant ones.[7] In the years following its release, Intolerance strongly influenced European film movements. In 1958, the film was voted number 7 on the Brussels 12 list at the 1958 World Expo. In 1989, it was one of the first films to be selected for preservation in the United States National Film Registry.
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