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The Birth of a Nation 1915 |
Review by Jonathan Cornwell |
Directed by D.W. Griffith
NR, 190 min. |
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Starring: Lillian Gish, Mae Marsh, Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph Lewis, George Siegmann, Walter Long, Robert Harron, Wallace Reid, Joseph Henabery
Producer: D.W. Griffith
Screenplay: D.W. Griffith, Frank E. Woods, Thomas F. Dixon Jr.
Cinematography: G.W. Bitzer
Distributor: Epoch Producing Corp.
Released: 3.03.15 |
Rating:
 (out of ) |
The Birth of a Nation is one of the most important films in the history of cinema; its groundbreaking narrative and cinematic
techniques are still utilized today. It was the first great silent film and for decades was considered the best film in American
history. That the film doesn't leap to the forefront of present day cinephiles' minds is clearly due to the fact that The Birth
of a Nation is one of the most racist pictures ever made. The Ku Klux Clan is presented as heroes of a devastated South,
riding valliantly to the rescue of repressed white men under the clutches of riotous, violent black men. Many critics have
called the film "embarassing" but nonetheless brilliant in its construction. Directed by the "Father of Cinema," D.W. Griffith, the film
wowed audiences in 1915 with numerous technical achievements in intercutting scenes and breathtaking sequences.
The success of a film like Gone with the Wind would not have been possible without Griffith's masterful inventions, both
on the set and in the editing room.
Most agree that had The Birth of a Nation never contained its monstrously racist third act, it may still be considered
America's best film. That moviegoers of the time didn't recognize the racism and bigotry but instead focused on the
technical marvels unfolding on screen is a testament to the fact that America was once a consensual racist country. The
blight of slavery on the nation's history didn't dissipate overnight; that African-Americans still feel the sting of prejudice
today is proof enough. Some would argue that the film actually set America back several decades on the road to civil rights
equality, since its enormous popularity rekindled the fires of the KKK in many Southern states, prompting a revival of
parades and marches through the streets of major cities throughout the next two decades. Even as Griffith sought to
distance himself from, and certainly apologized for the overt racism in, his first great film, the stain on his career could not
be removed. However, Griffith's place among the great directors and founders of cinema is assured, mostly because his
ensuing work, notably Intolerance (1916) and Broken Blossoms (1919), only reinforced his genius.
The Birth of a Nation was the longest film to date at just over three hours in length; audiences certainly got their
money's worth, however, as it was roughly five times longer than the average picture of the time. It establishes the
comfortable life of the white Southerner, mostly on the backs of slave labor, encapsulates the horrors of the Civil War,
and concludes with Reconstruction and the rise of the KKK. So grand and far-reaching was its scope that the film
had the poignant effect of seeming almost surreal in its depiction of two families (one Northern, one Southern) that oscillate
from friends to enemies to friends again. Written by Griffith, Frank E. Woods, and based on the "Clansman" by
Thomas F. Dixon Jr., The Birth of a Nation has the distinction of being the first real "epic." The stories, settings,
and time periods that elapse only reinforce the notion that the film was seemingly made for greatness.
The Camerons of the South counter the Stonemans of the North throughout the film's first two segments, as each suffer losses
during the Civil War. There is a scene where sons from both families fall side-by-side during battle. But in the aftermath
of war, Senator Austin Stoneman (Ralph Lewis) and his mulatto protege, Silas Lynch (George Siegmann), seek to control South Carolina
when blacks are voted into a huge majority in the state congress. Stoneman's daughter, Elsie (Lillian Gish), loves
Ben Cameron (Henry B. Walthall), the only remaining son of the Cameron family, but consternation ensues when Ben
founds the Ku Klux Clan to re-establish white supremacy in the state. As the final act unspools, crazed blacks riot in the
streets and surround the Cameron family in an isolated log cabin, only to be rescued by the KKK, riding on horseback
and with vengeance in mind. Of course, the KKK emerges victorious and begins a reign of intimidation upon blacks, who are
suddenly afraid to vote. Even Austin joins the ranks of the prejudice when he discovers Lynch's plan to marry Elsie against
her wishes. The film concludes on a note of propaganda, envisioning an idyllic Aryan-like society in which Elsie and Ben
can marry in peace and harmony. Leni Riefenstahl could not have done it better.
One of the signs of Griffith's intense racism is in the portrayal of the blacks themselves. There is a strange dichotomy of
real-life negroes and black-faced white men portraying black men. When asked to explain the overt bigotry in later years,
Griffith claims that there weren't any trained black men to use in the picture. This unfortunate decision rendered the picture
racist to yet another degree, because white men acting as black men chasing after white women with animal-like lust in
their eyes is nothing short of disgraceful. To add insult to injury, it is widely noted that even President Woodrow Wilson
claimed that "It is like writing history with lightning. And my only regret is that it is all so terribly true."
Despite all this, The Birth of a Nation is an astonishing display of cinematic invention. The scenes of battle,
especially the doomed Confederate army's last charge in the film's signature sequence is one of true visual power.
The sweeping wide shots intercut with medium shots of close combat had never been seen before, and Griffith's unique
talent for imparting emotion through compelling stories is clearly felt here. The stirring, building climax was birthed here,
as action and interpersonal storylines converged for maximum impact. Moviegoers of the time must have been almost
enraptured with the newly unveiled techniques. Other accomplishments included night photography, the iris effect,
parallel action, panning camera movements, tinting and some coloring for effect, and maybe the most important, the
extreme closeup. Griffith was able to communicate even nuanced facial expression through this technique, which has
become an actor's best friend. To witness The Birth of a Nation on the screen is to understand the evolution of motion pictures.
The Birth of a Nation, since it is a masterpiece, was maybe the first example in cinema of recognizing brilliance
in the light of offensive subject matter. There is no denying that the film cannot be dismissed, nor should it be; Roger Ebert
writes, "If we are to see this film, we must see it all, and deal with it all." Griffith's ability to move cinema forward amidst the
numerous short silent films of his era is proof of his visionary genius. The film was cinema's most profitable work ever,
and remained that way for many years, and it had the enviable aspect of proving the notion that motion pictures can
affect society in such a powerful way that its impact was felt for decades afterward. The Birth of a Nation must be seen
both for its paradox and its spectacle, but mostly because it propelled the art of cinema into society's consciousness.
This film is part of the The Great Directors series under D.W. Griffith.
© 2004 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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