The Birth of a Nation
The Birth of a Nation, originally called The Clansman,[5] is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken.
This article is about the 1915 silent film. For other uses, see The Birth of a Nation (disambiguation).The Birth of a Nation
- D. W. Griffith
- Frank E. Woods
- D. W. Griffith
- Harry Aitken[1]
D. W. Griffith
Epoch Producing Co.
- February 8, 1915
United States
- Silent film
- English intertitles
$100,000+[3]
$50–100 million[4]
The Birth of a Nation is a landmark of film history,[6][7] lauded for its technical virtuosity.[8] It was the first non-serial American 12-reel film ever made.[9] Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered closeups and fadeouts, and it includes a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands.[10] It came with a 13-page Souvenir Program.[11] It was the first motion picture to be screened inside the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet.
The film was controversial even before its release, and it has remained so ever since; it has been called "the most controversial film ever made in the United States"[12]: 198 and "the most reprehensibly racist film in Hollywood history".[13] The film has been denounced for its racist depiction of African Americans.[8] The film portrays its black characters (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy.[14][15]
Popular among white audiences nationwide upon its release, the film's success was both a consequence of and a contributor to racial segregation throughout the U.S.[16] In response to the film's depictions of black people and Civil War history, African Americans across the U.S. organized and protested. In Boston and other localities, black leaders and the NAACP spearheaded an unsuccessful campaign to have it banned on the basis that it inflamed racial tensions and could incite violence.[17] It was also denied release in Chicago, Ohio, Denver, Pittsburgh, St. Louis, and Minneapolis. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year.[18]
In spite of its divisiveness, The Birth of a Nation was a massive commercial success across the nation—grossing far more than any previous motion picture—and it profoundly influenced both the film industry and American culture. Adjusted for inflation, the film remains one of the highest-grossing films ever made. It has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.[19][20]
Production[edit]
1911 version[edit]
In 1911, the Kinemacolor Company of America produced a lost film in Kinemacolor titled The Clansman. It was filmed in the southern United States and directed by William F. Haddock. According to different sources, the ten-reel film was either completed by January 1912 or left uncompleted with a little more than a reel of footage. There are several speculated reasons why the film production failed, including unresolved legal issues regarding the rights to the story, financial issues, problems with the Kinemacolor process and poor direction. Frank E. Woods, the films scriptwriter, showed his work to Griffith, who was inspired to create his own film adaptation of the novel, titled The Birth of a Nation.[23][24][25]
Inspiration[edit]
Many of the fictional characters in the film are based on real historical figures. Abolitionist U.S. Representative Austin Stoneman is based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania.[26][27] Ben Cameron is modeled after Leroy McAfee.[28] Silas Lynch was modeled after Alonzo J. Ransier and Richard Howell Gleaves.[29][30]
Development[edit]
After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money,[31]: 330 he began visiting other studios to see if they were interested.[32]: 421 In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith.[32]: 421 Like Dixon, Griffith was a Southerner, a fact that Dixon points out;[33]: 295 Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence.[34] Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914.[29]
Birth of a Nation "follows The Clansman [the play] nearly scene by scene".[35]: xvii While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources."[36] According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books."[35]: xvii–xviii
Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $304,186 in 2023) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars.[37] The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests.[32]: 422–423
Social impact[edit]
KKK support[edit]
Studies have linked the film to greater support for the KKK.[79][80][81] Glorifying the Klan to approving white audiences,[82] the film became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party.[83]
Anti-black violence[edit]
When the film was released, riots broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of white people to attack black people. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation.[84] Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived."[80] The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens.[85] The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities.[86]
A 2023 study found that roadshow screenings of the film were associated with a sharp spike in lynchings and race riots between 1915 and 1920.[79]
Contemporary reception[edit]
Critical response[edit]
The New York Times gave the film a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds."[87] Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out."[88]
Burns Mantle in the New York Daily News noted "an element of excitement that swept a sophisticated audience like a prairie fire in a high wind", while the New York Tribune said it was a "spectacular drama" with "thrills piled upon thrills". The New Republic, however, called it "aggressively vicious and defamatory" that was a "spiritual assassination. It degrades the censors that passed it and the white race that endures it".[89]
Legacy[edit]
Film innovations[edit]
In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance."[142]
Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands.[10] The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra.[37]
Home media and restorations[edit]
For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, [and] running speeds," which were "usually in definitely unoriginal black and white."[143]
One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000.[143]
In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and screened in theaters many times, Photoplay's 1993 version was never released on home video.[143]
Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith.[143] In 2011, Kino prepared an HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain.[143]
In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period.[143]
Informational notes
Citations
Bibliography
Further reading