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

 -  Drama | History  -  5 September 1916 (USA)
8.0
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Ratings: 8.0/10 from 8,860 users  
Reviews: 78 user | 61 critic

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

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Cast

Complete credited cast:
...
The Woman Who Rocks the Cradle / Eternal Mother
Rest of cast listed alphabetically:
Spottiswoode Aitken ...
Brown Eyes's Father (as Spottiswoode Aitkin)
...
Uplifter
Frank Bennett ...
Monte Blue ...
The Strike Leader
William H. Brown ...
Father of the Bride of Cana / Warden (as William Brown)
Lucille Browne ...
Uplifter
Elmer Clifton ...
The Rhapsode
Miriam Cooper ...
Josephine Crowell ...
Dore Davidson ...
The Friendly Neighbor
Sam De Grasse ...
Edward Dillon ...
Crook
Taylor N. Duncan ...
Captain of the Gateg / Bodyguard of the Princess Beloved (as Ted Duncan)
Pearl Elmore ...
Uplifter
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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:

D.W. Griffith's Colossal Spectacle 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
See  »
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Did You Know?

Trivia

Jenkins and his foundation are modeled after John D. Rockefeller and his own foundation. The massacre of workers at the beginning of the movie is modeled after the Ludlow massacre of 1914, in which Rockefeller was involved. See more »

Goofs

While the vestal virgins of uplift are at the party given by Ms. Jenkins, and are indoors the whole time, the feathers on their hats flutter and their dresses are blown as if by a breeze. This sort of thing occurs in numerous indoor scenes throughout the film, since interiors were shot on outdoor sets. See more »

Quotes

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

Featured in Star Power: The Creation of United Artists (1998) See more »

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User Reviews

The Greatest Movie of all time... almost
3 November 2002 | by (Lansing, Michigan) – See all my reviews

I first saw this picture as a teenager some thirty years ago. I had no idea what to expect; all I knew was the famous still of Belshazzar's feast which has become one of the best known icons depicting the extravagance of crazy old Hollywood. But I was astounded and bowled over by what I saw. I will make no attempt at a plot synopsis here, since several other reviewers on this site have done so. Most readers already know that Griffith set out to tell four separate stories, laid in four widely spaced historical periods, and that he intercut freely between them, increasing the tempo as the film proceeded, and attempted to bring all four to a climax simultaneously. Clearly he bit off more than he, or anybody, could chew; but the fact that the limits of what cinema could do were being pushed so hard so early is what fascinated me then, and still fascinates me now. I wish to heaven that college film courses would just blow off "Birth of a Nation" and consign it to the oblivion it largely deserves, and show "Intolerance" instead, for this indeed is Griffith's monument, despite its poor state of repair; and at the risk of being technical I would like to address this. I have noticed that the one negative comment running most consistently through the reviews posted on this website is the relative lack of weight given to the French and Judaean sequences relative to the Modern and Babylonian narratives. This is largely the fault of the movie's checkered preservation history. When "Intolerance" failed to make huge sums at the box office, Griffith released the Babylonian and Modern stories as individual features in 1919, reshooting some scenes along the way. He cut up the original negative (gasp!) to do this, and by the time he decided to reassemble the whole movie in 1926, it turned out that all the king's horses and all the king's men couldn't quite put Humpty Dumpty back together again. There was never a shooting script, or a written continuity; Griffith kept the whole thing in his head, and moreover could never stop tinkering with it while it was in release! Consequently, while the Babylonian and Modern stories have survived largely intact, the French and Judaean episodes were depleted by about half. So when we see it now we must recognize that we are viewing a broken sculpture. The movie is a restorer's nightmare; almost a third of its 2000- plus shots exist in variant versions, and the captions were rewritten more than once. But, broken as it is, it's still magnificent. There has never been, and will never again be, anything like it. It has all of Griffith's inconsistencies: subtle and naturalistic acting from Mae Marsh and Robert Harron as the luckless couple in the Modern Story are seen cheek by jowl with outrageous mugging by Walter Long as the Musketeer of the Slums, or Josephine Crowell's Catherine de Medici in France; but no masterpiece on this scale is ever consistent, after all. I love Connie Talmadge's Mountain Girl from Babylon; smart, funny and crazy. Other favorites: Tully Marshall as the villainous Priest of Bel; Seena Owen as the Princess beloved, my personal nomination for Most Fabulous Body of the Hollywood 1910s, never mind the deranged costumes; Alfred Paget as a genuinely humane Belshazzar; Howard Gaye as a believable and totally unforced Jesus. Everything the silent screen of 1916 could do, good, bad, subtle, overblown, crazy or glorious is embodied here; and Griffith never rode so high again. The most satisfactory version currently available, in my opinion, is the Kino on Video edition on vhs and dvd, the one illustrated when you first call the picture up on this site. There are some problems and a few missing bits that I take exception to, but overall this is the version that first time viewers should try.


30 of 38 people found this review helpful.  Was this review helpful to you?

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Why is this not in The IMDB Top 250? mrm45
Kino DVD is NOT most complete version Amanojaku
favorite part? VanRippestein
Brief Nudity in the Babylon story pete2141
How did they do that? ladyofmirkwood16
8 hr version TheMajorNL

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