The Stoneman family finds its friendship with the Camerons affected by the Civil War, both fighting in opposite armies. The development of the war in their lives plays through to Lincoln's assassination and the birth of the Ku Klux Klan.
Three centuries before Christus. Young Cabiria is kidnapped by some pirates during one eruption of the Etna. She is sold as a slave in Carthage, and as she is just going to be sacrificed to... See full summary »
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 <firstname.lastname@example.org>
Ted Shawn and Ruth St. Denis appear as solo dancers on the Babylonian steps. Though St, Denis always denied this (insisting she had never appeared in silent films), Shawn confirmed the appearance. The couple operated their famous Denishawn dance school in Los Angeles at the time and were major dance stars of the era. See more »
Catapults had not been invented in 539 BC. See more »
And now our fourth story of love's struggle against Intolerance, in the distant time when all the nations of the earth sat at the feet of Babylon. Outside of Imgur Bel, the great gate of Babylon, in the time of Belshazzar, 539 B.C. Merchants, farmers, East Indians, with trains of elephants, Egyptians, Numidians, and ambitious Persians spying upon the city.
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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 »
This deserves a 10 for technical merit and a 3 for watchability today
It's very hard to review INTOLERANCE today, as the film is so old fashioned that even comparing it to films made just a decade later is a problem. When it debuted in 1916, it was a technical masterpiece due to D. W. Griffith's insane spending habits--with the millions he sank into the film with these extraordinary sets, it couldn't help but knock the socks off the audience. The film featured live elephants (plus a few papier mache ones that were well camouflaged), thousands of extras and sets that even by today's standards are amazing. The huge walls of Babylon and the enormous statues are NOT matte paintings but were actually built for this amazing film. The problem, though, is that although people DID come to see the film, they never came in large enough numbers to recoup production costs and it was a huge box office failure. I think part of this might have been because while the film was beautiful to look at, the narrative was very confused (being made up of four separate films inter-spliced together) as well as extremely preachy AND sexy (now THAT's a unique combination).
A lot of these problems could have been avoided by simply making four separate films--or at least filming one or two of the best sequences only. Plus, two of the sequences (the story of Jesus and the St. Bartholomew's Day Massacre) seemed too choppy and incomplete--like they were more afterthoughts of Griffith. The two remaining sequences, the Babylonian and the one set in 1916 had much more merit. While the Babylonian one was pretty silly in many ways, it was by far the most visually appealing and just overwhelms the viewer. The 1916 sequence had simple contemporary sets and had an excellent story that paralleled the stingy Puritanism of John D. Rockefeller--and this alone would have made an excellent film. But when all the films were combined with their tenuous and schmaltzy message, the overall picture really bogged down and is almost laughably bad in spots. What I particularly found interesting were scenes with Jesus appearing along with some very, very risqué scenes of practically naked dancing girls from Babylon! What this film DESPERATELY needed was a producer--not D. W. Griffith tossing in everything but the proverbial kitchen sink into an overblown mega-picture that couldn't help but fail.
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