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

Not Rated | | Drama, History | 5 September 1916 (USA)
The story of a poor young woman, separated by prejudice from her husband and baby, is interwoven with tales of intolerance from throughout history.

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Cast

Cast overview, first billed only:
...
...
...
The Boy
F.A. Turner ...
The Dear One's Father (as Fred Turner)
...
...
Mary Jenkins
...
Uplifter
Eleanor Washington ...
Uplifter
Pearl Elmore ...
Uplifter
Lucille Browne ...
Uplifter
...
Uplifter (as Mrs. Arthur Mackley)
...
...
The Musketeer of the Slums / Babylonian Warrior
Tom Wilson ...
The Kindly Policeman
...
The Governor
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Storyline

Intolerance and its terrible effects are examined in four historical eras. In ancient Babylon, a mountain girl is caught up in the religious rivalry that leads to the city's downfall. In Judea, the hypocritical Pharisees condemn Jesus Christ. In 1572 Paris, unaware of the impending St. Bartholomew's Day Massacre, two young Huguenots prepare for marriage. Finally, in modern America, social reformers destroy the lives of a young woman and her beloved. Written by Erik Gregersen <erik@astro.as.utexas.edu>

Plot Summary | Plot Synopsis

Taglines:

A Sun-Play of the Ages See more »

Genres:

Drama | History

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Release Date:

5 September 1916 (USA)  »

Also Known As:

Intolerance  »

Box Office

Budget:

$385,907 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (2000 video release) | (DVD) | (TV)

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

In August 2013 a newly restored version of the masterpiece was shown at the Film Forum in New York City. See more »

Goofs

Director's assistant clad in coat and tie. See more »

Quotes

Prince Belshazzar: [to the Princess Beloved - In the doomed city] Our marriage will be announced tomorrow. This bud will blossom - -- tomorrow.
See more »

Crazy Credits

Constance Talmadge is credited as 'Georgia Pearce' for her performance as Marguerite de Valois in the French Story. She is credited under her own name in the role of The Mountain Girl in the Babylonian Story. See more »

Connections

Referenced in Suspiria (1977) See more »

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User Reviews

 
Poor
25 July 2005 | by (United Kingdom) – See all my reviews

I was kinda forced into watching this film having started reading through 'American Silent Film' by William Everson (a very good book, I hasten to add on, er, well the title says it all) and encountering an entire chapter on, first, 'Birth of a Nation' (which I duly watched) and, then, 'Intolerance'.

I was already a fan of the Silent Screen so I approached it with a great amount of expectation, especially as Mae Marsh and Lillian Gish were in it whose performances in 'Birth' I thought were two of the finest I'd seen in silent movies.

However, in my opinion, the film is as poor as 'Birth' is brilliant.

Sure, there are a great amount of high spots when you look at film technique (such as the moving camera in part two that zooms in over the heads of the crowds - and the grand sets of Babylon are stunning to say the least) but the film is a mishmash of ideas that are forced into employment as examples of 'Intolerance' when you could view alternate characters as equally displaying the trait.

The film started life as the 'Modern Story only' prior to 1916 which was then used as the basis to have the other two main and one rather sketchy story cut into it (the Jesus narrative is, to be honest, not a story but a series of excerpts from the life which support the other three stories at certain points). To me, it shows - it's just *too* chaotic a film to be enjoyable (even by 1916 standards).

A couple of other points - Mae Marsh's performance is semi-decent although there appears to be a bit too much over-dramatisation at points while Constance Talmadge's character (the Babylonian Mountain Girl) although sometimes implausible is a nice humorous insertion (I used to know a girl like that!).

Why Griffith gave Lillian Gish the sole acting role of rocking a cradle throughout the film with no other input, I can't imagine (there must've been some good reason for it) as her acting ability was, for me, the highlight of 'Birth'.

If you're a movie-buff, this film is a must-see. Don't miss it! But, like me, you may wonder 'Why?'.

One lighter point - did anyone notice that where the train stops is the same place that Keaton used in 'The Goat' for the shot of him riding the train?


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