FIFTY FAMOUS FILMS – BRITISH FILM INSTITUTE (Birth of a Nation)
FIFTY FAMOUS FILMS – BRITISH FILM INSTITUTE (Birth of a Nation)
- NATIONAL FILM THEATRE
- FIFTY FAMOUS FILMS
- 1915—1945
- BRITISH FILM INSTITUTE
- NATIONAL FILM ARCHIVE
- Printed by Cox & Sharland Ltd.
- London and Southampton
This booklet is the work of many people who have been associated with the National Film Theatre during the past eight years. Apart from the contributions which are credited in the text, there are critical assessments by Lotte Eisner (Cinematheque Francaise), Penelope Houston (editor of “Sight and Sound”), Gavin Lambert (lately editor of “Sight and Sound”), Ernest Lindgren (Curator of the National Film Archive), Rachael Low (film historian and author), Liam O’Laoghaire (Film Acquisitions Officer of the National Film Archive), and Karel Reisz (film director). We take this opportunity of thanking them for their work which has helped so much to bring this present series of National Film Archive programmes into existence. In addition, these programmes could also not exist without the active co-operation of the entire film industry. Particular assistance has been given for the present series by:
- Associated British Picture Corporation Ltd.
- Avon Distributors Ltd.
- British Broadcasting Corporation.
- Contemporary Films Limited.
- Mrs. Frances Flaherty.
- Harold Lloyd.
- Paramount Film Service Ltd.
- Rank Film Distributors Limited.
- Robin International (London) Limited.
- Twentieth-Century Fox Film Co. Limited.
- United Artists Corporation Limited.
- Warner Bros. Pictures Limited.
- John Huntley
(PROGRAMME CONTROLLER NATIONAL FILM THEATRE)
BIRTH OF A NATION
- U.S.A., 1915 12 reels
- Production company I Epoch Producing Corporation (D. W. Griffith)
- Direction D. W. Griffith
- Script: D. W. Griffith and Frank Woods, from the
- novel “The Clansman” by the Rev. Thomas
- Dixon, Jnr.
- PHOTOGRAPHY G. W. Bitzer
CAST
- Elsie Stoneman – Lillian Gish
- Flora Cameron – Mae Marsh
- Col. Ben Cameron – Henry B. Walthall
- Margaret Cameron – Mirian Cooper
- Lydia, Stoneman’s Housekeeper – Mary Alden
- Hon. Austin Stoneman – Ralph Lewis
- Silas Lynch – George Seigmann
- Gus – Walter Long
- Tod Stoneman – Robert Harron
- Jeff, the blacksmith – Wallace Reid
- Abraham Lincoln – Joseph Henaberry
- Phil Stoneman – Elmer Clifton
- Mrs. Cameron – Josephine Crowell
- Dr. Cameron – Spottiswoode Aiken
- Wade Cameron – J. A. Beringer
- Duke Cameron – Maxfield Stanley
- Mammy – Jennie Lee
- General V. S. Grant – Donald Crisp
- General Robert E. Lee – Howard Gaye
Born in Kentucky, U.S.A., in 1875, Griffith had to start earning his living at an early age. Soon tiring of clerks’ and salesmen’s jobs, he decided he wanted to be a writer and attached himself to the “Louisville Courier”. He had several short stories and poems published, and a drama staged in Washington. This last success, though a minor one, was sufficient to rouse his interest in the stage, and at 27, after some experience as a stage actor, he became employed by the Biograph Company where he played his first film part in Edwin S. Porter’s Rescued from an Eagle’s Nest. Finding he could make as much as five dollars a day acting in the movies, and even more by writing for them, he stayed with the Biograph Company although his ambition to write—particularly for the stage—remained.
In 1908, owing to the illness of one of the directors of the Company, he began his own directing career when he took over the making of The Adventures of Dolly. For the next four years, until he left Biograph and began producing films on the epic scale, he directed films at an average rate of one a week. It was during this period that he explored and developed the use of film editing, and transformed the film from a primitive method of pictorial storytelling into an expressive medium of immense possibilities which were subsequently to be explored by later directors. Griffith’s methods sprang from a comparatively simple idea, namely that of moving the camera nearer to the actors to obtain a more detailed view of their reactions. This had, of course, been done before; he did not, as is sometimes claimed, “invent” the close-up. Unlike his predecessors, however, he instinctively realised that the close-up was something more than an insert, an interruption to the smooth flow of the dramatic action ; it was the key to a new technique of film-making. The close shot gives us a single detail of a scene, the rest being excluded ; but the rest can be supplied by other close shots of other details. In other words, instead of showing a dramatic scene in a single full shot, which is the method of the theatre, it can be built up, both in the director’s imagination and in fact, by a succession of shots of detail (technically made possible, of course, by the fact that it is quite easy both to cut cinematograph film, and to join separate strips together).
This method not only brings the spectator nearer to the dramatic action, indeed into the midst of it, and thus makes it more vivid. It also gives the director a far greater control over his material. It enables him to select only the most significant details of a scene, to show them from a wide variety of viewpoints (a small change of camera viewpoint in a long shot is hardly noticeable; in a close shot it can produce an entirely different picture), and to vary the length of his cutting pieces in order to control the pace and tempo of the scene. It replaces the artificial theatrical view of life seen through a proscenium by a method which corresponds much more to our everyday visual experience. As Lewis Jacobs expressed it, in his “Rise of the American Film”, ‘Griffith suddenly understood (that) in movie making, guiding the camera, even more than directing the actor, is the trick.’
In his two major films, The Birth of a Nation (1914) and Intolerance (1916) D. W. Griffith utilised his new discoveries with a maturity and power which astonished the world at the time, and which have seldom been equalled since, despite the great technical progress made by the cinema in other ways. Parts of The Birth ofa Nation were savagely attacked on the grounds that they showed an anti-Negro bias. Griffith denied this, and considered the attacks unjust. Intolerance, therefore, became in some measure a personal protest against the way he had been treated; at the same time, of course, it is very much more. For the purposes of generalisation it may be said that the cinema received its final recognition as a new artistic force on the occasion of the premiere of Birth of a Nation at the Liberty Theatre, on 3rd March, 1915. True, it had a previous showing in Los Angeles under its original title of The Clansman, but the New York run brought the film into the limelight of world opinion and the result was nothing short of revolutionary.
The film enshrined all that Griffith had learned about the visual presentation of a story during his apprenticeship as director of some hundreds of shorter films and less ambitious subjects. With one grand leap into the saddle Griffith took command of the film industry as its leading creative artist and led it to a position which it has never lost in the affection of cinema audiences. Not merely did Griffith establish the claims of the cinema to be an art but he challenged the supremacy of the theatre and presented it with a serious rival. From now on the cinema was regarded as a powerful artistic and social manifestation of the age.
In taking the novel “The Clansman” Griffith was committed to the depiction of the American Civil War and the Reconstruction Period in the Old South in terms of Southern bias and anti-negro prejudice which, in effect, comes through pretty strongly in the film. The glorification of the by then notorious Ku Klux Klan and the scurvy delineation of the coloured race in the film are blemishes which no plea of historical accuracy can minimise. The showing of the film has been in many cases the signal for outbreaks of anti-negro feeling. On the other hand, it appears that Griffith, carried away no doubt by his personal allegiances and the creative ambition of his work ignored the implications contained in it and may be quite genuinely sincere when he claims that he was recording history and had no intention of defaming a race he had the warmest regard for. This is old controversy now and, as if to atone for misunderstandings, his next work was a passionate plea for tolerance. A charitable view may imply indiscretion rather than malice.
The vast scale of the film called for production in a way never before visualised in movies. The finance was provided by private backers and the film was really made completely outside the scope of the existing industry. Griffith’s company, Epoch Producing Corporation, expended 110,000 dollars on the film. This, a trifling sum today, was considered at the time to be a monstrous outlay. After six weeks of rehearsal, shooting commenced on the 4th July, 1914, and the first shots covered were those of the Civil War. Locations were mainly situated in the hills and valleys of Southern California. Interiors were shot at the Fine Arts Studio in the outskirts of Hollywood, then little more than a village. The total filming period ran from July to October. The tremendous organisation of personnel and shooting schedules, and the planning of photography were carried through by the indomitable will of Griffith. And when the three and a half months’ editing was complete the problem of distribution had to be tackled since the Hollywood producers refused to handle the picture.
The presentation of the film in New York for a consecutive run of forty four weeks inaugurated what has come to be accepted as modern de-luxe film presentation. The film which contained 1,375 individual shots totalled twelve reels with a footage of about 12,500 feet. Griffith’s players had been familiar figures in his earlier films and many such as Donald Crisp, Raoul Walsh, Joseph Henaberry and Erich von Stroheim (who appears in a tiny coloured role) were to become important film directors in their subsequent careers.
Gilbert Seldes in his appreciation of the film wrote: “To this picture Griffith gave the fundamental brainwork which a work of art, however inspired, must have; it has structure, proportion, coherence and integrity. It can be separated into a dozen different themes or stories, but it obstinately remains one film, into which all the parts are woven . . . The rhythms are delicately felt ; the whole picture has pace and sweep.”
The correct use of technical devices subordinated to artistic effect distinguishes the film in many ways. The carefully chosen viewpoints, the camera flexibility, the use of natural scenes, the realism especially of the battle scenes and the emotionally expressive editing treatment were to set headlines for future film directors in both America and Europe.
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