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>
Included among the American Film Institute's 1998 list of the 400 movies nominated for the Top 100 Greatest American Movies. See more »
The position of the Mountain Girl's head when Belshazzar arrives at the marriage market. In one shot her head is bowed, in the next, she is looking up at him, and in the shot after that, her head is still bowed and then she looks up at him. See more »
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 »
Griffith re-cut the modern and Babylonian stories and released them as two separate films in an attempt to make up for the financial loss he suffered on the original picture. The re-released versions were Mother and the Law, The (1919) and Fall of Babylon, The (1919). See more »
Before 'Pulp Fiction' and 'The Lord of the Rings', at a time when films were just at an age of adolescence, D. W. Griffith produced 'Intolerance', a pure cinematic treat of grand proportions. Involved in practically every aspect of the craft, from direction to makeup, Griffith lavishly proved his artistic talent.
'Intolerance' is unarguably a work of ambition. The daring script structure that took almost eighty years to grow to its full potential, the jaw-dropping sets, disgustingly expensive for contemporary studios, a cast of thousands, and top class performances from the entire cast, particularly the female leads radiate with freshness in the third millennium. The achievements make it irresistible to disconsider any flaw. But 'Intolerance' is flawed. Its dogmatic, utopic, and often historically inaccurate, plot makes room for wide criticism. And yet, the paced finale, with nail-biting suspense, redeem Griffith's attempt of delivering a mature product.
Often misunderstood, and characterised as Hollywood trite, the film is devoured by its own complexity. The four stories intertwine sporadically, disconnected, only to allude in the end at the similarity of human kind since the beginning of time. 'Intolerance', ultimately, is an epic on humanity, and its tenacity is a testament of its greatness.
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