Intolerance

Intolerance is an extraordinary and pioneering film from the silent era that continues to captivate audiences over a century after its initial release in 1916. Directed and produced by the legendary D. W. Griffith, it features the tremendous acting talents of Lillian Gish, Robert Harron, and Mae Marsh in leading roles.

Griffith's film is an astounding visual tapestry that meticulously interweaves four unique narratives, set in distinctly different eras of human history. Drawing upon an eclectic mix of historical and fictional sources, the storylines include the fall of Babylon in 539 BCE, the crucifixion of Jesus Christ, the fifteenth century's St. Bartholomew's Day Massacre in France, and a contemporary (early 20th-century) American tale.

The movie is not just a simple juxtaposition of disparate historical incidents; instead, it weaves these component threads into an intricate narrative tapestry with great finesse, such that they resonate with each other, creating a symphony of visual storytelling that depicts the cyclical nature of human intolerance throughout multiple periods sequentially.

There is an abiding theme of intolerance, prejudice, and inhumanity that reverberates throughout the narratives, evident in the systemic oppression in each era. The monolithic structures of power and the recurring patterns of persecution, suffering, and resistance bind these seemingly disparate eras together into a unified commentary on human society.

The segment set in Babylon illustrates the despotism of its rulers, while the modern American story grapples with labour unrest and moral reform, depicting the struggles of the working class amidst growing social disparities. Similarly, the narrative based on Jesus Christ centers around the inflexibility of the Pharisees, while the episode set in medieval France aims to expose the extremism that precipitated the massacre.

Aesthetically, Intolerance is laudable for its grandeur and scale, presenting an unprecedented cinematic experience. Its innovative style marked several technical breakthroughs, with intricate, large-scale sets, extensive use of extras, and groundbreaking editing techniques, which ultimately contributed to the development of the cinematic language.

The primary actors, Lillian Gish, Robert Harron, and Mae Marsh, each turn out compelling performances in their roles, skillfully embodying their characters and conveying profound emotions without dialogues or sound – an attribute of their remarkable acting prowess.

Lillian Gish's portrayal of an eternal mother figure knitting in the backdrop of the individual stories serves as a metaphorical link that binds the differing narratives together. Her presence in the film throws light on the significance of the maternal figure suggesting elements like time, continuity of life, and deeply imbedded love.

Intolerance is also notable for its use of a dynamic editing style, a departure from the more static and linear narrative structure of films at that time. This approach helped parallel the events from different periods and created a thematic through-line between the stories, enhancing the film's emotional impact.

It is worthwhile to highlight that Intolerance is not just a cinematic spectacle but a response to the criticism Griffith faced for his previous controversial film, "The Birth of a Nation." In many ways, it is seen as his statement against the bias and prejudice that he was accused of endorsing, making it a cinematically significant and personal work for Griffith.

Overall, running at over three hours in the original cut, Intolerance is an epic of silent cinema that celebrates the medium's potential to tell grand, complex narratives with a social message at heart. It stands as an extraordinary achievement in film history, showcasing the ambitious vision and innovative aesthetics of D. W. Griffith. The film's narrative structure, thematic depth, visual grandeur, and powerful performances firmly establish its place as one of the essential classics of cinema.