Intolerance: Love's Struggle Throughout the Ages (1916)

Director:

D.W. Griffith

Writers:

D.W. Griffith (scenario)
Anita Loos (titles)

Release Date:

5 September 1916 (USA)

Genre:

Drama | History | Romance

Tagline:

The Cruel Hand of Intolerance

Plot:

The story of a poor young woman, separated by prejudice from her husband and baby, is interwoven with tales of intolerance from throughout history.

Plot Keywords:

Intolerance | Judea | Jesus Christ | Massacre | Reformer

Awards:

1 win

Cast

Mae Marsh	...	The Dear One (Modern Story)
Robert Harron	...	The Boy (Modern Story)
F.A. Turner	...	The Girl's Father (Modern Story) (as Fred Turner)
Sam De Grasse	...	Arthur Jenkins (Modern Story)
Vera Lewis	...	Mary T. Jenkins (Modern Story)
Mary Alden	...	Self-Styled Uplifter (Modern Story)
Eleanor Washington	...	Self-Styled Uplifter (Modern Story)
Pearl Elmore	...	Self-Styled Uplifter (Modern Story)
Lucille Browne	...	Self-Styled Uplifter (Modern Story)
Julia Mackley	...	Self-Styled Uplifter (Modern Story) (as Mrs. Arthur Mackley)
Miriam Cooper	...	The Friendless One (Modern Story)
Walter Long	...	The Musketeer of the Slums (Modern Story) / Uncredited Babylonian Warrior (Babylonian Story)
Tom Wilson	...	The Kindly Policeman (Modern Story)
Ralph Lewis	...	Governor (Modern Story)
Lloyd Ingraham	...	Judge of the Court (Modern Story)

Also Known As:

Intolerance (USA) (short title)
Intolerance: A Sun-Play of the Ages (USA) (copyright title)
The Mother and the Law (USA) (working title)
Intolerância (Brazil) (Portugal) [pt]
Intolérance (France) [fr]
Intolerància (Spain: Catalan title) [ca]
Intolerance (Germany) [de]
Intolerancia (Spain) [es]
Nietolerancja (Poland) [pl]
Suvaitsemattomuus (Finland) [fi]

Runtime:

163 min | UK:178 min (2000 video release) | USA:197 min | Spain:197 min (DVD version) | Spain:123 min (TV version) | Argentina:175 min

Country:

USA

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Certification:

Argentina:Atp | South Korea:12 (2003) | Australia:PG | Sweden:15

Filming Locations:

Baldwin Hills, Los Angeles, California, USA

Company:

Triangle Film Corporation

Trivia:

Joseph Henabery was hired to shoot some additional scenes of semi-nude slavegirls when the front office declared that the film needed "more sex".

Goofs:

Continuity: In the scene where Monsieur La France is shown with the puppies in his belt 'pocket', the long shot shows his arms in the air, but the next close shot shows a hand under the 'pocket' the puppies are in, and then cuts back to him with his hands in the air.

Quotes:

The Dear One: I'll walk like her and maybe everyone will like me too.

Movie Connections:

Featured in The Moving Picture Boys in the Great War (1975)

Excellent Historical Perspective

This silent film by director D.W. Griffith is well known to serious movie buffs and historians, but not to today's general public. I doubt that a lot of people these days would have the patience to sit through a film that contained three hours of silence. Nevertheless, the film's technical innovations inspired filmmakers in the 1920's and later, particularly in Russia and Japan. It also inspired filmmakers in the U.S., including Cecil B. DeMille and King Vidor. For this reason, and for other reasons, "Intolerance" is an important film.

The film's four interwoven stories, set in four different historical eras, are tied together thematically by the subject of "intolerance", a word which could be accurately interpreted today as "oppression", "injustice", "hate", "violence", and mankind's general inhumanity.

Griffith's narrative structure, though innovative, is uneven, because he gives more screen time to two of the four stories (the "modern" and the "Babylonian"). Equal time for three stories, thus deleting the fourth, might have worked better.

To me, the Babylonian story is the most interesting one because of its more complete coverage, and because of its elaborate costumes and spectacular sets. Even though there is no script, the viewer can easily discern the plot, which suggests that some of today's films might be just as effective, or more so, if screenwriters would downsize the dialogue.

What "Intolerance" offers most of all to contemporary viewers is a sense of perspective. Someone once said that despite the enormous advances in technology, society itself has advanced not at all. That may be true. In the eighty plus years since the film was released, technical advances in film-making have been obvious and impressive. But we are still plagued with the same old human demons of oppression, injustice, hate, violence, and ... intolerance.