movie film review | chris tookey
 
     
     
 

Intolerance


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  Intolerance Review
Tookey's Rating
5 /10
 
Average Rating
9.31 /10
 
Starring
Mae Marsh, Lillian Gish, Constance Talmadge
Full Cast >
 

Directed by: D.W. Griffith
Written by: D.W. Griffith

 
 
 
Released: 1916
   
Genre: DRAMA
IMPORTANT
SILENT
COSTUME
CONTROVERSIAL
EPIC
   
Origin: US
   
Colour: BW
   
Length: 115
 
 


 
MIXED Reviews

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"The attempt is not to stimulate the imagination but to gorge the senses. Even this attempt is unsuccessful, because the illusion is not played for honestly; one is astounded at the tricks, the expense, the machinery of production, more often than one is absorbed by their result. One might enjoy a quarter of it, stretched out to the full time. But as it is, one prefers Messrs. Barnum and Bailey."
(George Soule, New Republic)
"The second drama, built around the story of the Saviour at Nazareth, is nothing less than a cheap effort by a showman to get pictures out of a subject on which he ought not to have trespassed; and the third episode, which has to rake up the Massacre of St Bartholomew for a picture-palace holiday, is in itself an unconscious example of intolerance... [The] Babylonian episode and the New York 'crook' drama provide a splendid picture entertainment. As for the rest, Mr Griffith might wisely employ an American phrase, 'cut that stuff', and apply it to his picture show. What is left will be well worth paying to see."
(Daily Mail, 1916)
"Was and still is the greatest spectacular film. Its ingredients... have been at the back of every American producer's mind ever since [and] are indirectly responsible for the many imitations - The Ten Commandments, Noah's Ark,... Sodom and Gomorrah, all of which failed because they lacked the fierce intensity of purpose and skill of Griffith. Intolerance had the makings of a great film, but failed because of its own immensity ... the theme at once becomes superficial."
(Paul Rotha & Richard Griffith, The Film Till Now, 1930)
"Perhaps the greatest movie ever made and the greatest folly in movie history. It is charged with visionary excitement about the power of movies to combine music, dance, narrative, drama, painting, and photographyoto do alone what all the other arts together had done. In this extravaganza one can see the source of most of the major traditions of the screenothe methods of Eisenstein and von Stroheim, the Germans and the Scandinavians, and, when it's bad, De Mille. It combines extraordinary lyric passages, realism, and psychological details with nonsense, vulgarity, and painful sentimentality."
(Pauline Kael, New Yorker)

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