Intolerance (1916)

D.W. Griffith’s Intolerance (1916) is one of the most ambitious films of the silent era. Often regarded as a response to the controversy surrounding Griffith’s previous film The Birth of a Nation, Intolerance attempts to showcase the destructive nature of bigotry and prejudice across different eras of human history. It is both a cinematic experiment and a moral parable, weaving together four stories separated by centuries.

Detailed Summary

The Four Storylines

Griffith structures the film as a tapestry of four intercut narratives:

1. The Modern Story (The Boy and the Dear One) – A contemporary melodrama about a young couple torn apart by social reformers, corporate greed, and systemic injustice.
2. The Babylonian Story – Set in 539 B.C., it depicts the fall of Babylon to Cyrus the Great, highlighting religious intolerance and betrayal.
3. The Judean Story – Focused on the life and crucifixion of Jesus Christ, portraying the religious intolerance of his persecutors.
4. The French Story – Set in 1572, it dramatizes the St. Bartholomew’s Day Massacre, when thousands of Huguenots were slaughtered in Paris by Catholic forces.

All four narratives are bound together by the symbolic figure of a mother (played by Lillian Gish) eternally rocking a cradle, representing the continuity of human struggle through time.

The Modern Storyline in Detail

At the heart of the film is the story of “The Boy” (Robert Harron) and “The Dear One” (Mae Marsh). They marry despite poverty and hardships, but reformist organizations intervene, taking away their child. The Boy is falsely accused of murder and sentenced to death. The tension rises as The Dear One races to save him, appealing to authorities and struggling against systemic indifference.

The Babylonian Spectacle

The Babylonian story is the film’s visual centerpiece. It shows grand sets, massive walls, and opulent temples. The High Priest of Bel betrays Babylon, allowing Cyrus the Great’s army to invade. The fall of the city becomes a cinematic spectacle of mass slaughter, contrasting cruelty and heroism.

The French Tragedy

In the French segment, Griffith depicts the clash between Catholic and Protestant factions. A Huguenot family is caught in the violence of the St. Bartholomew’s Day Massacre, dramatizing religious intolerance and senseless brutality.

The Judean Episode

The briefest of the four stories centers on Christ, showing his compassion and eventual crucifixion as an ultimate act of intolerance by the authorities of the time.

Movie Ending

The climax intercuts the four stories with increasing speed, creating one of the earliest examples of cinematic “cross-cutting” as a tool for emotional intensity.

• In the Modern Story, The Boy is moments away from execution. The suspense is unbearable as the clock ticks closer to his hanging. At the last moment, evidence clears him, and a frantic car chase rushes to deliver the pardon before it’s too late. The Boy is saved just in time, reunited with The Dear One, and given hope for a future together.
• The Babylonian Story ends in tragedy: Babylon falls, its people slaughtered, and its civilization destroyed due to betrayal and intolerance.
• The French Story concludes with the massacre of the Huguenots. There is no rescue here—only devastation, underlining the horror of sectarian hatred.
• The Judean Story ends with Christ’s crucifixion, the ultimate sacrifice symbolizing the destructive power of intolerance.

Griffith closes the film with a montage suggesting a future in which humanity overcomes intolerance, implying a hopeful vision of universal peace, even though three of the four stories end tragically.

Are There Post-Credits Scenes?

No. Intolerance predates the concept of post-credits scenes. The film ends definitively with its montage of tragedy and hope.

Type of Movie

Intolerance is a silent epic drama. It combines elements of historical spectacle, melodrama, and social commentary.

Cast

• Mae Marsh as The Dear One
• Robert Harron as The Boy
• Miriam Cooper as The Friendless One
• Lillian Gish as The Eternal Mother (rocking the cradle)
• Constance Talmadge as The Mountain Girl (Babylonian Story)
• Alfred Paget as Prince Belshazzar
• Seena Owen as The Princess Beloved
• Howard Gaye as Jesus (The Nazarene)

Film Music and Composer

Being a silent film, Intolerance was accompanied by live orchestras during its release. Griffith provided cue sheets for theater musicians. Later reconstructions often feature scores composed specifically for modern screenings. The most recognized adaptation is by Carl Davis, who composed a score for the restored version.

Filming Locations

The film was shot in and around Hollywood, with the Babylonian sets constructed on Sunset Boulevard. The colossal set of Babylon, with towering elephants and massive walls, became legendary. Its ruins stood for years and were a tourist attraction until they were eventually torn down.

Awards and Nominations

The film was made before the Academy Awards existed (the Oscars began in 1929). Thus, it did not receive awards in its own time, though it is now considered one of the most important and influential films in cinema history.

Behind the Scenes Insights

• Griffith financed the movie himself after profits from The Birth of a Nation. It was one of the most expensive films of its time, nearly bankrupting him.
• Over 3,000 extras were used for the Babylon sequences.
• The Babylonian sets were so massive that they influenced future Hollywood epics like Ben-Hur and Cleopatra.
• Lillian Gish’s cradle-rocking sequences were filmed in minimalist fashion, serving as symbolic connective tissue.

Inspirations and References

The film was inspired by Griffith’s desire to address the accusations of racism against The Birth of a Nation. He wanted to prove he could make a moral film promoting unity rather than division. He also drew from historical sources, biblical texts, and classical literature.

Alternate Endings and Deleted Scenes

No alternate ending survives, but different cuts of the film exist. Early versions ran over three hours, while later re-releases were shortened. Some sequences, especially in the French story, were trimmed in later prints.

Book Adaptations and Differences

Intolerance is not based on a single book. Rather, it draws from multiple historical and biblical accounts. The originality of the narrative structure is one of its most defining traits.

Memorable Scenes and Quotes

Key Scenes

• The introduction of the Babylonian sets, with colossal architecture and ornate costumes.
• The nail-biting climax of the Modern Story, racing to stop The Boy’s execution.
• The cross-cutting montage where all four stories accelerate toward their respective conclusions.
• Christ’s crucifixion sequence, which frames him as an eternal victim of intolerance.

Iconic Quotes

Since Intolerance is a silent film, dialogue is shown through intertitles. One of the most striking:

• “Out of the cradle endlessly rocking…” (introducing the Eternal Mother sequence).
• “Love shall conquer intolerance.”

Easter Eggs and Hidden Details

• The recurring motif of the cradle emphasizes the cyclical nature of history.
• The Mountain Girl in the Babylonian story is a character Griffith invented, symbolizing individual courage against systemic betrayal.
• Griffith reused several actors from The Birth of a Nation as a form of continuity for audiences.

Trivia

• The film’s budget exceeded $2 million (an astronomical figure for 1916).
• The Babylonian walls were 300 feet long and 100 feet high.
• Intolerance’s influence is seen in later directors like Sergei Eisenstein and Stanley Kubrick.
• Although considered a masterpiece today, the film was not a financial success upon release.

Why Watch?

Because Intolerance is not just a film—it’s film history. It redefined cinematic storytelling, pioneered cross-cutting as an art form, and delivered one of the boldest visual spectacles of the silent era. For anyone who loves cinema, it is essential viewing.

Director’s Other Movies

• The Birth of a Nation (1915)
• Broken Blossoms (1919)
• Way Down East (1920)
• Orphans of the Storm (1921)

Recommended Films for Fans

• Metropolis (1927)
• Napoléon (1927)
• Ben-Hur (1925)
• The Ten Commandments (1923)
• The Passion of Joan of Arc (1928)