The Birth of a Nation (1915), directed by D.W. Griffith, is one of the most controversial films in cinema history. Technically groundbreaking yet ideologically toxic, it’s a film that cannot be discussed without addressing both its artistry and its deeply racist themes. Below is a full exploration of the movie in structured detail.
Detailed Summary
Part I: The Civil War
The story follows two families — the Northern Stonemans and the Southern Camerons — during the American Civil War. The film depicts battles, Lincoln’s assassination, and the social and political changes of Reconstruction. The Camerons represent the “honorable South,” while the Stonemans are portrayed as corrupt Northern opportunists.
Part II: Reconstruction and Racial Tensions
After the war, freed African Americans (mostly portrayed by white actors in blackface) are depicted as gaining political power and dominating Southern legislatures. The film vilifies these portrayals, showing African American men as corrupt and predatory. The Reconstruction government is presented as chaotic and immoral.
The Rise of the Ku Klux Klan
In response, the Southern characters turn to vigilantism. The Ku Klux Klan is portrayed as heroic defenders of white civilization. The narrative glorifies their formation, depicting them as saviors of the South against what the film frames as “lawlessness” and “immorality.”
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Movie Ending
In the climax, a young white woman, Elsie Stoneman, is threatened with forced marriage by Silas Lynch, a biracial character. At the same time, another Cameron daughter throws herself off a cliff to avoid being captured by a Black Union soldier. These moments are staged as high melodrama to justify the film’s racist worldview.
The film’s final sequences show the Ku Klux Klan riding in as white-robed “knights” to rescue Elsie and restore “order.” They rout Lynch and his supporters, presenting the Klan as noble warriors who save white womanhood and Southern honor.
The last scenes depict the Camerons and Stonemans reconciling through marriage, symbolizing a restored white unity between North and South. The film closes with a Christ-like vision of peace, suggesting that racial separation under white dominance is the path to harmony.
Are There Post-Credits Scenes?
No. Post-credits scenes were not a convention in 1915 cinema. The film ends with its final vision of “peace” and fades to black.
Type of Movie
The Birth of a Nation is a silent historical epic and propaganda film. It is considered both a technical milestone and a politically inflammatory work.
Cast
- Lillian Gish as Elsie Stoneman
- Henry B. Walthall as Colonel Ben Cameron
- Mae Marsh as Flora Cameron
- Miriam Cooper as Margaret Cameron
- Ralph Lewis as Austin Stoneman
- George Siegmann as Silas Lynch
Film Music and Composer
Originally, the score was composed and arranged by Joseph Carl Breil, one of the first American composers to create a full score for a feature film. The music combined original themes with classical and patriotic tunes.
Filming Locations
The movie was filmed primarily in California, with battle scenes staged in Griffith Park and other Los Angeles locations. California’s landscapes doubled for Civil War battlefields and Southern towns, chosen for both practical and budgetary reasons.
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Awards and Nominations
There were no formal Academy Awards in 1915. However, the film was a massive box office success and became the first American blockbuster. In later years, it has been included in discussions of influential cinema, though also condemned for its racism.
Behind the Scenes Insights
- D.W. Griffith invested an unprecedented budget (over $100,000) for the film, making it the most expensive production of its time.
- The film ran over three hours, unheard of in 1915, requiring intermissions.
- President Woodrow Wilson reportedly screened the film at the White House, allegedly praising it (though this claim is debated).
- The movie sparked widespread protests from civil rights groups, particularly the NAACP, which tried to have it banned.
Inspirations and References
The film is adapted from Thomas Dixon Jr.’s novel The Clansman (1905) and his earlier work The Leopard’s Spots. Both novels glorified the Ku Klux Klan and portrayed Reconstruction as a period of corruption and chaos.
Alternate Endings and Deleted Scenes
While alternate endings were not standard practice in early cinema, some prints of the film circulated with shortened versions, especially when local protests demanded cuts. Scenes of Black characters in positions of power were often edited or censored differently in various regions.
Book Adaptations and Differences
Compared to Dixon’s novel The Clansman, Griffith softened some of the most violent racial elements but preserved the overall pro-Klan narrative. The book explicitly advocates for white supremacy more bluntly, while the film masks it under the guise of epic storytelling.
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Memorable Scenes and Quotes
Key Scenes
- The assassination of President Lincoln at Ford’s Theatre.
- Flora Cameron’s death as she leaps off a cliff to escape capture.
- The climactic Klan ride with white-robed riders galloping across the screen.
Iconic Quotes (Intertitles)
- “The agony which the South endured that a nation might live.”
- “The former enemies of North and South are united again in common defense of their Aryan birthright.”
Easter Eggs and Hidden Details
- Griffith inserted subtle Biblical imagery, framing the Klan as Christ-like saviors.
- The White House screening gave the film cultural legitimacy, though it was highly contested.
- Some battle scenes reused authentic Civil War photographs as references.
Trivia
- It was the first 12-reel film ever made, introducing the concept of the feature-length movie.
- The film was banned in several cities, including Chicago and Denver, due to protests.
- Griffith later attempted to answer critics with Intolerance (1916), which condemned hatred and prejudice.
- The Birth of a Nation made over $50 million in box office receipts — unprecedented for its time.
Why Watch?
This movie influenced society by showing how powerful cinema can be in shaping public opinion, even with harmful narratives. From a historical standpoint, it must be watched critically, as it is both a cornerstone of film history and a blatant piece of racist propaganda.
Director’s Other Movies
- Intolerance (1916)
- Broken Blossoms (1919)
- Way Down East (1920)
- Orphans of the Storm (1921)
Recommended Films for Fans
If you’re interested in film history rather than ideology, these provide better alternatives: