D.W. Griffith, Film Genius: Old School Reviews

D.W. Griffith

Anyone who takes a film appreciation class or attends film school will encounter D.W. Griffith and learn of his pioneering efforts in American cinema. For a general introduction seek Iris Barry's pamphlet "D.S. Griffith." It hits the high points, creating a valuable outline of the master filmmaker and his career. Some academic studies of Griffith are pretentious ponderings by doctoral students-- patently unsuitable for human consumption. But Barry's treatise is well-presented and readable resource about the innovative filmmaker.

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D.W. Griffith and film itself weren't always elevated. Most are aware of the detestable racism illustrated in The Birth of a Nation, but the medium itself wasn't always well regarded critically either. Early films were considered little more than entertaining gimmicks and novelties, and in the 1890's films ranked alongside flea circuses as entertaining segments in variety shows. Although the groundwork was laid for future cinematic storytelling by Edison studio's Edwin S. Porter in The Life of an American Fireman and The Great Train Robbery, Griffith brilliantly stretched the film canvas far beyond these "baby steps."

First published by the Museum of Modern Art in 1940 to help establish American film as a viable art form, Iris Barry's pamphlet "D.W. Griffith" received a reprinting in 2002. Its brief thirty-nine pages contain a wealth of biographical information about Griffith's early years as cash boy, journalist, and actor before he worked with the Biograph Company on 11 East 14th Street in New York City. It traces his career from the day he broke off to become an independent filmmaker, and highlights his major films, including plentiful screen shots from The Birth of a Nation and Intolerance, in particular. Serving as a summation is a fine chronology of Griffith from his January 7, 1875 birth date to his final film, The Struggle (1931), as well as an Index that cites his films and important associates.

A special section is granted cinematographer G.W. Bitzer, who provides the author with first hand accounts of his work with Griffith and early film technique. Especially interesting is his account of how Griffith lured him to leave the safety of Biograph, since Bitzer had initially refused to join him. But Griffith filled him with a dream of better days:

"We will bury ourselves in hard work out at the coast...for five years, and make the greatest pictures ever made, make a million dollars, and retire, and then you can have all the time you want to fool around with your camera gadgets, etc., and I shall settle down to write."

As controversial as Griffith remains for the rascist content of his landmark The Birth of a Nation, contemporary filmmakers are indebted to his crucial contributions to film artistry. Termed by Charles Chaplin as the "teach of us all," Griffith is regarded as the creator of "film grammar" for discovering a number of visual elements have become universal film language--most notably for popularizing "cross-cutting" by editing a number of concurrent events to build suspense.

Filmography
	Biograph Shorts (1909-13) While working for the Biograph Company, Griffith perfected his technique and made 450 short films. Notably, Griffith and Biograph Company were the first to make films in Hollywood--a small farming village at the time. Convinced that feature films could be profitable in the U.S. as they were beginning to make their way onto European screens, Griffith filmed the first U.S. feature, Judith of Bethulia.
	Birth of a Nation (1915) The landmark film that started it all--audiences since have come to expect feature length plots with familiar film grammar. Despite the blatant racism derived from its source material, the film must be admired from its innovative artistry and historical importance. The first true blockbuster (top money maker of its era), this three hour film has influenced generations of filmmakers.
	Intolerance (1916) Griffith's initial response to critics who vehemently objected to the racism expressed in Birth of a Nation, this film explores the nature of intolerance throughout history--Babylonian period, Judean era, French Renaissance, modern era. Essentially a morality melodrama with characters representing types to emphasize the lesson.
	Broken Blossoms (1919) Again striking a blow against intolerance, Griffith paints a sympathetic portrait of a Chinese protagonist during a time that a great deal of prejudice was directed against them. Cheng Huan leaves China to spread Buddha's teachings in London, eventually fulfilling his mission when he meets a beautiful but abused daughter of a boxer (Lillian Gish). A surprisingly gritty drama for its time.
	Way Down East (1920) Most memorable for its great scene with Lillian Gish crossing an ice flow, Griffith contrasts rich and poor in this Dickens-like melodrama. A rich cad seduces the virgin heroine into a pseudo-marriage in order to bed her, but soon abandons her when she becomes pregnant. Her tribulations are only beginning, however, but she triumphs in the end.
	Orphans of the Storm (1921) Using the French Revolution and the rise of Bolshevism as a backdrop, Griffith focuses on class conflict once again. Raised together as sisters, Henriette swears to take care of Louise when she goes blind. They seek a cure in Paris, but are separated when an evil aristocrat abducts Henriette. She does find love, but complications and a possible execution lie ahead.