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

Calificación de los usuarios:

8.2/10   

Director:

D.W. Griffith

Escritores:

D.W. Griffith (scenario)
Anita Loos (titles)

Fecha de Lanzamiento:

5 septiembre 1916 (USA)

Género:

Drama | Historia | Romance

Frase comercial:

The Cruel Hand of Intolerance

Plot:

The story of a poor young woman, separated by prejudice from her husband and baby, is interwoven with tales of intolerance from throughout history.

Plot Keywords:

Intolerance | Judea | Jesus Christ | Massacre | Reformer

Premios:

1 win

Comentarios de los usuarios:

The Greatest Movie of all time... almost

Reparto

Mae Marsh	...	The Dear One (Modern Story)
Robert Harron	...	The Boy (Modern Story)
F.A. Turner	...	The Girl's Father (Modern Story) (as Fred Turner)
Sam De Grasse	...	Arthur Jenkins (Modern Story)
Vera Lewis	...	Mary T. Jenkins (Modern Story)
Mary Alden	...	Self-Styled Uplifter (Modern Story)
Eleanor Washington	...	Self-Styled Uplifter (Modern Story)
Pearl Elmore	...	Self-Styled Uplifter (Modern Story)
Lucille Browne	...	Self-Styled Uplifter (Modern Story)
Julia Mackley	...	Self-Styled Uplifter (Modern Story) (as Mrs. Arthur Mackley)
Miriam Cooper	...	The Friendless One (Modern Story)
Walter Long	...	The Musketeer of the Slums (Modern Story) / Uncredited Babylonian Warrior (Babylonian Story)
Tom Wilson	...	The Kindly Policeman (Modern Story)
Ralph Lewis	...	Governor (Modern Story)
Lloyd Ingraham	...	Judge of the Court (Modern Story)

También conocida como:

Intolerance (USA) (short title)
Intolerance: A Sun-Play of the Ages (USA) (copyright title)
The Mother and the Law (USA) (working title)
Intolerancia (Spain) [es]

Duración:

163 min | UK:178 min (2000 video release) | USA:197 min | Spain:197 min (DVD version) | Spain:123 min (TV version) | Argentina:175 min

País:

USA

Color:

Negro y Blanco

Relación de Aspecto:

1.33 : 1

Sonido:

Silent

Clasificación:

Argentina:Atp | South Korea:12 (2003) | Sweden:15

Locaciones de Filmación:

Baldwin Hills, Los Angeles, California, USA

Compañía:

Triangle Film Corporation

Trivialidades:

The staging and art direction of the Babylonian scenes were largely inspired by the works of 19th century painter Lawrence Alma-Tadema.

Errores:

Continuidad: During the Babylonian bacchanal, the same extra, dressed as a slave girl, is standing behind both Belshazzar and Beloved. She is looking in different directions and has her arms in different positions in each shot.

Citas:

The Boy: Nothing doing on the good night stuff, I always go inside to see my girls.

Conexiones de Película:

Apareció en The Haunted World of Edward D. Wood Jr. (1996)

The Greatest Movie of all time... almost

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.