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Judith of Bethulia (1914)

A religious woman seeks to save her people from destruction by seducing and murdering the enemy leader, but her plans get complicated once she falls for him.

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Cast

Credited cast:
...
...
...
...
Nathan
...
The Young Mother
...
The crippled beggar
Kate Bruce ...
Judith's maid
J. Jiquel Lanoe ...
Eunuch Attendant
...
Assyrian Traitor
W. Chrystie Miller ...
Bethulian
...
Bethulian Soldier
Edward Dillon
Rest of cast listed alphabetically:
Gertrude Bambrick ...
Lead Assyrian Dancer
...
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Storyline

A fascinating work of high artistry, "Judith of Bethulia" will not only rank as an achievement in this country, but will make foreign producers sit up and take notice. It has a signal and imperative message, and the technique displayed throughout an infinity of detail, embracing even the delicate film tinting and toning, marks an encouraging step in the development of the new art. Ancient in story and settings, it is modern in penetrative interpretation - it is a vivid history of one phase of the time it concerns, and is redemptive as well as relative, a lesson from one of those vital struggles that made and unmade nations as well as individuals, yet it is not without that inspiring influence that appeals powerfully to human sense of justice. The entire vigorous action of the play works up to the personal sacrifice of Judith of Bethulia, a perilous chance she takes for the sake of the lives and happiness of her people. She dares expose herself to overwhelming humiliation and dishonor ... Written by Moving Picture World 1914

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Genres:

Drama

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Details

Country:

Language:

Release Date:

8 March 1914 (USA)  »

Also Known As:

Her Condoned Sin  »

Box Office

Budget:

$40,000 (estimated)
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Company Credits

Production Co:

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Technical Specs

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The original company that made "Judith of Bethulia" (American Mutoscope & Biograph Co.) is in development and planning a feature re-make of the film. See more »

Goofs

When Judith goes out into the city and begins to bless the young mother's baby, an extra enters the shot in the left foreground, blocking the action. She or he quickly retreats back out of view, as someone obviously yelled out. See more »

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User Reviews

 
The wheels of a cinema revolution beginning to churn.
12 August 2001 | by (Mountain Mesa, California) – See all my reviews

D.W. Griffith fuses Thomas Bailey Aldrich's long poem of Judith's story with its basis in the Apocrypha to derive this somewhat austere and powerful film of the widow's noble sacrifice to save her besieged city and its inhabitants from an invading Assyrian army, led by Holofernes. With JUDITH as Griffith's first feature length effort, he turns away from the commercial needs of the Biograph Company, the management of which desires to maintain its policy of making only one and two reelers, and his expenditure of $36000 is double the amount budgeted, reflecting his expanded use of sets and extras and providing the requisite exercise in preparation for his next major work: BIRTH OF A NATION, made as a free agent. Eighteen year old Blanche Sweet's performance is striking as she utilizes all of her wide range of expressivity, uncommon in one so young, to mirror the emotions of a woman who is physically attracted to a man, Henry Walthall as Holofernes, toward whom her only possible final act will be his death by her hand, as depicted in many a well-known painting. The supporting cast serves the sparsely titled production well, with emotional performances from Mae Marsh and Robert Harron as endangered lovers, and among the many bit players who animate the work may be seen Lionel Barrymore, Harry Carey, Antonio Moreno and Lillian and Dorothy Gish as victims of the invaders. This version is the four reeler rather than the one of six reels released later and is Griffith's answer to the full-length epics which were being imported from Europe; its release was delayed a year by Biograph to ensure that the director had left its employ, but this brought scant gain to the company: Biograph was soon defunct, while Griffith's star was rising.


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