The Stoneman family finds its friendship with the Camerons affected by the Civil War, both fighting in opposite armies. The development of the war in their lives plays through to Lincoln's assassination and the birth of the Ku Klux Klan.
In the midst of the Russian Revolution of 1905, the crew of the battleship Potemkin mutiny against the brutal, tyrannical regime of the vessel's officers. The resulting street demonstration in Odessa brings on a police massacre.
Sergei M. Eisenstein
Cabiria is a Roman child when her home is destroyed by a volcano. Sold in Carthage to be sacrificed in a temple, is saved by Fulvio, a Roman spy. But danger lurks, and hatred between Rome and Carthage can only lead to war.
Two brothers, Phil and Ted Stoneman, visit their friends in Piedmont, South Carolina: the family Cameron. This friendship is affected by the Civil War, as the Stonemans and the Camerons must join up opposite armies. The consequences of the War in their lives are shown in connection to major historical events, like the development of the Civil War itself, Lincoln's assassination, and the birth of the Ku Klux Klan.Written by
Victor Munoz <firstname.lastname@example.org>
Originally presented in two parts, with an intermission. See more »
The position of the window in the small cabin changes. See more »
[Northern solider is trying to keep wounded Ben's mother out of hospital]
I am going into that room to my boy. You may shoot if you want to.
See more »
The following was listed in the opening credits: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue - the same liberty that is conceeded to the art of the written word - that art to which we owe the Bible and the works of Shakespeare. See more »
In 1931 a shorter version with an orchestral track was released. The reissue version was reedited and shorted under Griffith's supervision, and also included sound effects. Also filmed and added to this version was a prologue featuring Griffith in conversation with actor Walter Huston, introducing the film. See more »
I have watched this film several times over the years, and I find the second half dealing with reconstruction a little harder to watch each time. Although its racist viewpoint may have mirrored much of America in 1915, it obviously was not the only viewpoint, since America had its abolitionists in the early 1800s. Griffith endorses just about every wretched stereotype put forth by the south during and after reconstruction, namely the venality of all northerners and the baseness of all blacks who did not completely bow to whites. A good example is that the disdainful depiction of the black-run state legislature is based on a cartoon, not an actual photograph or contemporary description. Griffith's portrayal of northerners and blacks is completely from the point of view of a white southern racist. Although I greatly admire much of his work, he deserved the criticism he got for this film. Aside from the political racism, much of the second half of the film is just silly melodrama, even based on 1915 standards and other Griffith work.
83 of 139 people found this review helpful.
Was this review helpful to you?
| Report this