THE SILENT SCREEN – Richard Dyer MacCann

D.W. Griffith
D.W. Griffith, internationally known movie director and producer, greets the press in this 1922 photo before sailing for Europe. (AP Photo)

THE SILENT SCREEN – Richard Dyer MacCann

Essays in honor of American executives, directors,

stars, comedians and films, 1896-1926

The Birth of a Nation was unquestionably the greatest and most influential film ever made up to 1915. In it D.W. Griffith brought to bear everything he had learned of dramatic and cinematic art, and that was what made the message so power- ful. But art is not innocent, and criticism is not confined to style. To treat this motion picture, in the classroom or any- where else, simply as an expression of cinematic skills is to ignore the vital difference between those arts which are abstract (like music) or nontemporal (like painting), and those which, like literature and drama, act out human relationships and social implications. Film criticism that pretends to be “purely aesthetic” is vacuous as well as irresponsible. If art is blinding in its brilliance, this does not excuse but rather intensifies the deadly effects of violence and hatred.

The Birth of a Nation 1915 3

What were those people in the audience in Los Angeles cheering and yelling about? Did they stand up and stamp and cheer because their critical judgment told them they had seen a great work of cinema? Or were they responding to the bold, naive appeal this movie made to underlying instincts of fear, ignorance, and racial superiority through the visual impact of that “Anglo-Saxon Niagara”? This is the Birth of a Nation problem, and we cannot avoid it if we honestly study film as a part of American life. Whether we call ourselves critics or historians, we cannot ignore the power of the motion picture for good and for evil.

lillian gish - nacimiento-de-una-nación - the birth of a nation 5

If Griffith was riding high after The Birth of a Nation—prosperous and praised for his skill in a new medium—he had also committed a form of social libel by drama, a condemnation of a whole group in American society as barbarians and primitives.

lillian gish - nacimiento-de-una-nación - the birth of a nation

There was a riot in Boston. A group of black people tried to buy tickets for the movie. Several hundred protesters rallied behind them. Two hundred policemen promptly appeared to prevent it. During the show someone threw a rotten egg at the screen, and stink bombs were dropped from the balcony. Showings were stopped for one day. In newspapers throughout the country the message of the film was attacked and Griffith’s right to speak defended. Newly formed black groups—the Urban League and the National Association for the Advancement of Colored People—gained strength in confronting this inflammatory film.

The Birth of a Nation 1915 5

At different times and for different periods, The Birth of a Nation was banned in Chicago, Cleveland, St. Louis, Topeka, and San Antonio, and in the states of Ohio, Illinois, and Michi- gan. Censors made cuts in the film in New York, Boston, Dallas, Baltimore, and San Francisco. One of the first cuts was a fantastic tableau which showed the whole black population of the United States lined up at a harbor to be deported back to Africa. Tom Dixon, author of The Clansman, told one editor that this deportation represented his main interest in writing the novel and encouraging the making of the film.

d.w. griffith and robert harron taking a lunch break during the filming of the birth of a nation

What was Griffith’s reaction to all this uproar? For the time being he remained the supremely confident movie magician. He never seemed to feel he was at fault in any way. He defended himself against every attack—and also helped make necessary cuts in the film. He issued a pamphlet stoutly claiming that the motion picture was a part of the free expression protected by the first amendment to the Constitution. (This rather persuasive position had just been contradicted by the Supreme Court in the Mutual Film case, not to be overturned until 1952.)

Intolerance – Babylon

Then he turned to his own medium for further defense. He had already completed The Mother and the Law, a modern story of a boy falsely accused of murder. He took this modest film and combined it with a grand spectacle on the fall of Babylon, inflating both of them by intercutting two other stories in a historical extravaganza. He called the whole daring, innovative, rather indigestible concoction. Intolerance. He was busily attacking age-old prejudices, but not the racist barriers of the American North or South. Above all, he was attacking his critics. And with this rather unstable motivation, he brought forth a strange, violent picture intended to oppose hatred and violence.


Critics and academicians down through the years have looked at Griffith’s creative intentions—especially his unique endeavor to intercut four different stories all the way through the film—and they have found Intolerance to be monumental, complicated, brilliant, and therefore exciting. Ordinary audiences have looked directly at the film and found it confusing and boring. Griffith himself later admitted that a single spectacle would have worked better. He recut the Babylonian and the modern stories separately and reissued them, but the total effort remained a financial failure.


Did D. W. Griffith go into a decline after Intolerance? This is the view of Lewis Jacobs in The Rise of the American Film, but it is a view bound to the aesthetic notion that montage is the highest form of cinematic art. His later films are simply different in purpose and therefore in style, and Blake Lucas has eloquently argued that “his more intimate and subtle works are often superior” because he sought to describe “the infinite shadings of human emotion and interaction.”

Hearts of the World
Hearts of the World

It could also be proposed that Griffith simply closed the door for a while on his obsessive epic impulse—and on social controversy. He did make a grandiose film supporting the Brit- ish cause in World War I, and he was exhilarated by the praise and honors heaped on him while he was in England and France. Then for quite a while he moved with confidence in a more comfortable range of subjects. His style tended to be more congruent with the simpler subjects he chose, more self-effacing, less flashy in terms of editing, with more long takes and continuity editing—more realistic, in fact, or at least ranging in the area between realism and romanticism where he was most at home.

In True Heart Susie, for example, Lillian Gish plays one of her most subtle roles, a farm girl who sells a cow so she can secretly support her childhood sweetheart through college. It takes her gawky neighbor (played by Robert Harron) a very long while to appreciate her, but there is finally a subdued and happy ending in this most rural of all possible worlds.

Lillian Gish and Richard Barthelmess - Broken Blossoms
Lillian Gish and Richard Barthelmess – Broken Blossoms

Broken Blossoms (1919) is another world altogether—the depressing atmosphere of the Limehouse district in London. A Chinese youth (played by Richard Barthelmess) comes to the violent Western world on an errand of mercy: to teach the peaceful ways of Buddha. He meets and loves a pitiful girl (Lillian Gish) who is in constant dread of being beaten to death by her father. He finally kills the father for doing exactly that, then kills himself—an ironic end to his mission.

Lillian Gish and Donald Crisp in Broken Blossoms
Lillian Gish and Donald Crisp in Broken Blossoms

A short, powerful film. Broken Blossoms stunned the critics. Photoplay called it “the first genuine tragedy of the movies.” The public, too, surprised theater owners by supporting at the boxoffice the integrity of this film and its consistent mood, so perfectly achieved by the dim backgrounds and the tense, controlled performances of the two young actors.

Broken Blossoms
Lillian Gish and Richard Barthelmess in “Broken Blossoms” (Lucy Burrows and Cheng Huan “Chinky”)

Broken Blossoms is certainly the film which most clearly extends the Griffith range and persuades us of two things: He was an artist of the screen, and he was truly versatile. He was not merely an inventive pioneer to be studied for historical reasons. He was a creator of works of permanent value.

"Way Down East" - Lillian Gish
“Way Down East” – Richard Barthelmess, Lillian Gish and Lowell Sherman

Another film also invalidates the theory of “‘decline”after Intolerance. Way Down East (1920) was enormously popular and profitable. It was a melodrama, one which had been touring the states since the turn of the century. A story of an innocent woman tricked into a fake marriage, pregnant, abandoned, mourning her dead child, wandering into the country—it is climaxed by a denunciation of her seducer, an expulsion from the household, and a rescue by the young son who loves her. The rescue takes place in a blizzard, and required Lillian Gish to ride a block of ice down the river.

It sounds both bizarre and banal, and critics then and since have often discounted the story as unworthy of a serious director’s attention. But Griffith knew there were basic human val- ues in it and he trusted his actress to bring them out. All the emotional high points are presented with intense conviction, and the love story, so long delayed, is heightened instead of overwhelmed by the hazardous chase on the ice.

"Way Down East" - Lillian Gish
“Way Down East” – Lillian Gish and D.W. Griffith on set (Vermont)

The fascinating thing about this old-fashioned story is how modern its moral is. Of course Griffith takes the opportunity to put down the supercilious rich city people in the early scenes, but he also turns us against the farm folk, so ignorant and sanctimonious. We yearn to help this frail outcast woman, and when she is rescued, we realize it is not accomplished by her return to rural life, but by the younger generation.

"Way Down East" - Lillian Gish
“Way Down East” – Richard Barthelmess and Lillian Gish

Here is an early version of many similar situations in later Hollywood films (made by John Ford and others) in which our sympathy is with the sinner and not with the Pharisees of society. The melodrama of Way Down East not only looks back. It also looks forward and prepares the way for a time when women will be able to tell their own story and claim some kind of independence in a more sympathetic world. This is the secret of the film’s appeal to audiences in the 1920s and the 1980s: we always know we are for Lillian and against the cruel condem- nation of an unfeeling, outmoded moral code.

It is a curious and noteworthy fact that Griffith had already encouraged Lillian Gish in real life to direct one of the Dorothy Gish comedies he was responsible for as executive producer. Such a decision reflected good judgment as to his star’s gifts and strengths. But it also was some kind of sign of an awkward move toward more liberal positions, socially if not politically. Griffith had tried in a small way to make up for the racism in The Birth of a Nation when he had a white Southern soldier kiss a dying black soldier in a film now lost. The Greatest Thing in Life. He had earlier shown rather consistent respect for native Americans in several early one-reelers that presented them as not only noble but exploited by the white man. He had made further points about prejudice, of course, with Broken Blossoms.

The Movies Mr. Griffith and Me (03 1969) - Griffith demonstrating his rapport with animals — with D. W. Griffith.

As usual, he didn’t quite know what he was doing: he was not a literary man, an intellectual, or a trained historian. He was a dealer in myths and emotions, not theories and logic. But can we propose that Griffith was subconsciously trying in Way Down East to catch up with the world? It was a world which was barely beginning, long after reconstruction days, to value equality of rights almost as much as freedom for the strong to get ahead. Did he know that it was time to give up some of the cruder claims of Darwinism—perhaps even some of the traditions of caste, the old Southern proprieties he had always praised?

Although Griffith never found it possible to consider members of the black race equally entitled to power and position— and in that stubborn opinion was joined by many white Americans from that day to this—he nevertheless seemed to have a strong attachment to certain basic ideals of democracy. The poor and the underdogs were often his heroes. The selfish capitalist who managed momentarily to gain monopoly power in A Corner in Wheat fell to his death in his own grain bin. Rich dowagers who dabble in organized charity (in Intoler- ance) and wealthy ladies who lack sympathy for their poor honest relations (in Way Down East) got harsh treatment at his hands. During those early “productive years when he felt so close to his audience—and was making two or three pictures a week— Griffith took up the conflict between rich and poor as often as he thought it was wise. Tom Gunning in his analysis of parallel editing, finds carefully worked out visual contrasts of this sort in The Song of the Shirt (1908), The Usurer (1910), and One Is Business, the Other Crime. In 1911, along with the usual romantic triangles, costume pictures, Mexican stories, and civil war dramas, there was an outcropping of seven stories with slum backgrounds.

The last film Griffith was free to make on his own -— before he gave up his independence to work on assignment for Paramount and United Artists — was a disturbing semi-documentary about the economic desolation of postwar Germany. “Isn’t Life Wonderful” (1924) left its sad young couple, at the end, grateful just to be alive (as the title indicated), but near starvation after their precious hoard of potatoes is stolen.

wg bitzaer and dw griffith -intolerance

This does not mean Griffith was any sort of political radical. The violent conflict between capital and labor in the modern story of Intolerance is supposed to have induced Lenin (according to Lillian Gish) to offer Griffith a position in charge of Soviet film production. Lenin certainly had the wrong man. Griffith’s old aristocratic loyalties together with his developing democratic creed would have put him doubly at odds with the authoritarian system of leveling going on under the Communist regime. His inner conflict was the same one that has troubled Americans for so long, the dual Jeffersonian ideal which says everyone deserves an equal opportunity to participate and learn but the able and talented few deserve special rewards.

Rising from obscurity and poverty, Griffith drove toward fame and power as an individual. Yet in his films, he struggled with issues of class relations, economic hardship, unchecked personal domination, nationalism, and war. Even his gentlest romances often posed the question of a woman’s role in family or in society. Like King Vidor in later years, he responded with earnest, untutored warmth to the currents of thought around him.

Essays in honor of American executives, directors, stars, comedians and films, 1896-1926


The silent screen
The silent screen cover

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STAR MAKER – The Story of D. W. Griffith (1959) by HOMER CROY


The Story of D. W. Griffith (1959)


I am pleased that i can pass along to the reading public the first story of the life of David Wark Griffith. He lived in a blaze of publicity for his stars and his stories, but he told little of himself, especially of his early life; nothing of his personal life. He had a secret marriage; he spoke not at all of this. In fact most people thought he was a bachelor. And, in one sense, he was. I met him only once. I spent an evening with him when he was just starting to make The Birth of a Nation. I was representing Leslie’s Weekly; no wonder he gave me so much time, for it was for this magazine that he had written his one published poem-‘The Wild Duck.” He didn’t mention the poem, but I expect during the evening he thought of it many times. Strangely enough, I cannot remember one important thing he said; and the piece I wrote is so inane that I hope no human eye ever falls on it again. I certainly did not realize that he would become a world figure, and that someday I would be attempting to tell his story. And I don’t think he had the faintest idea then that he would become a world figure, especially in a medium that later he came to despise. I have had access to his autobiography which is still in manuscript form. It deals with his early days, for he never finished it. It does, however, give some vivid pictures of his life as a farm boy. The intimate material in this book has come from people who knew him. He was strangely uncommunicative about himself. As an example, when he first came to New York he couldn’t land a job as an actor, so he got one working in the subway that was being built; his special assignment was wielding a pick and shovel. He told his brother Albert L. Griffith about this, but mentioned it only once. And he told Evelyn Griffith, and one or two others. That was all.

D.W. Griffith on set
D.W. Griffith on set

He made eighteen stars:


  1. Mary Pickford
  2. Lillian Gish
  3. Dorothy Gish
  4. Mae Marsh
  5. Blanche Sweet
  6. Richard Barthelmess
  7. Henry B. Walthall
  8. Robert Harron
  9. Florence Lawrence
  10. Mabel Normand
  11. Miriam Cooper
  12. Carol Dempster
  13. Una Merkel
  14. James Kirkwood
  15. Owen Moore
  16. Joseph Schildkraut
  17. Monte Blue
  18. Louis Wolheim


He launched, or furthered, the film careers of:

  • Lionel Barrymore
  • Noel Coward
  • Douglas Fairbanks
  • DeWolf Hopper
  • Erich von Stroheim
  • Carmel Myers
  • William Boyd
  • (Hopalong Cassidy)
  • Sir Herbert Beerbohm-Tree
  • Lupe Velez
  • Colleen Moore
  • Constance Talmadge
  • Ruth St. Denis
  • Mack Sennett
  • Ralph Graves
  • Ivan Lebedeff
  • W.C. Fields
  • Zita Johann
  • Ivor Novello
  • Bessie Love
  • Alma Rubens

Mae Marsh Portrait

I wrote Mae Marsh in Hermosa Beach, California, and asked if she had any memories of the making of The Battle at Elderberry Gulch. Her answer:

“One thing that stands out in my memory is this. In the picture were Lillian Gish, Lionel Barrymore, Harry Carey, myself, and others. We were undergoing an Indian attack. At one place in the story Lillian Gish was sitting on the steps in front of the cabin. Harry Carey was to point a pistol at her, and this the brave Harry Carey did. But Lillian wasn’t as frightened as Mr. D. W. thought she should be, so he touched Billy Bitzer on the shoulder, which meant for him to start the camera, then crept up behind Lillian and shot off the pistol. The effect was fine—Lillian almost jumped out of her skin and we escaped from the treacherous Indians.”

lillian gish - nacimiento-de-una-nación - the birth of a nation 6


Judith of Bethulia was held in the vaults for a year, then released—not as a “special feature,” but as a unit in the Trust’s routine weekly output. Handled this way— as part of the service for which the exhibitors paid the company could not ask a higher price for the film. As a result it was considered a financial failure and Griffith was looked on as a director who could not be depended on. The public did not want “multiple-reel pictures,” the Trust said. In this the Trust was a trifle in error; the public wanted them very much, indeed. The Trust, however, stubbornly refused to change its policy and soon was in trouble, and finally failed. Meantime, the public was eating up “multiple-reel pictures,” but the Trust was too dead to see the depressing spectacle. Griffith left Biograph and joined Mutual, with a special contract with Harry E. Aitken, its president, which allowed him to make any kind of picture he wanted. Griffith rejoiced. He was now, in effect, his own master. He would not be harried by the box office. He arrived in Los Angeles February 14, 19 14, on fire to make the kind of picture he wanted to make without the business office having a hand on his shoulder. And with him, just as eager as Griffith, was faithful Billy Bitzer. Griffith had in process of production, cutting, printing, and release three pictures which must be finished before he began The One. He tore into them; they promised to be moneymakers. While nominally supervising these productions for Mutual, Griffith was secretly at work on his new and inspiring story. He was hiring extras and costumes. A war was preparing in Europe; the one he was getting ready to film was more real to him than the one across the ocean. He had always spoken contemptuously of picture making. He would say to Billy Bitzer, “Well, let’s get to work and grind out another sausage.” But he had no such reflection on the new picture he was just starting; it would tell the truth about the neglected South.


The story principle, which he had established at the very beginning, was still in effect: the Griffith last-minute rescue. He had added to this bare bones the matter of social importance. Poor Dolly, in The Adventures of Dolly, had been rescued from her barrel at the last possible moment. Even in Judith of Bethulia the Jews had been saved by Judith with her platter. But he no longer wanted what he called “family situations”; he wanted a story that dealt with masses of people under stress, even with the fate of nations. He had always had this social consciousness; now he could make others aware of it. He had seen a stage play entitled The Clansman by the Reverend Thomas E. Dixon, of North Carolina. The play was tawdry, but in it was an idea—the condition of the South after the Union armies had retired in victory. The idea had been stowed away in his mind; he reread the book. He read also another book of the Reverend Mr. Dixon—The Leopard’s Spots—and decided to use part of this story in the general plot. He would depict the aftermath of the war and would show what had happened to thousands of southerners who had lost everything, like his father. This would be no pitiful  four-reeler; it would be the biggest, the most important picture ever made.

He told Harry Aitken what he wanted to do. Aitken said that he knew the mind of the directors of his company and that they would never agree to put up the sum needed— $50,000. A blow, indeed. After some discussion Griffith suggested they form their own company and produce the picture. Aitken agreed to this and said he would be personally responsible for the $50,000. It was a wonderful, breathtaking moment. Griffith—who did not think in small terms—named the company the Epoch Film Corporation. The time had come! He could produce, could be his own master. He would do big things. He had two other films to finish, but secretly he was working on the story of the South. As usual, he had the outline in his head; there would be no scenario. He would take the scenes in the order that seemed best. His imagination leaped; his mind soared; he had wings. He would depict the most dramatic events that had taken place in the War Between the States. He would show the Battle of Petersburg; he would show Sherman’s march to the sea; the burning of Atlanta; the assassination of President Lincoln. He would show the Negroes being led by “carpetbaggers” from the North, and he would show how law and order were restored by the Night Riders. He laid the evils of Reconstruction on two leaders of the Republican party: Senator Charles Sumner, of Massachusetts, and Congressman Thaddeus Stevens of Pennsylvania. Supporters of Stevens pointed out that he lived for years with a Negro woman in Washington, D.C. But it must also be pointed out that he did not marry her; the reason for this, it was said, was because he was afraid he would lose social caste in Washington. Who were to be his actors? Well, he would use the Griffith Players, and so he selected Lillian Gish, Mae Marsh, Henry B. Walthall, Robert Harron; Donald Crisp was to play General Grant, Raoul Walsh was to play John Wilkes Booth, and Erich von Stroheim was to have a small part. And there were to be lesser players. (Mary Pickford had joined another company and was not available.)

d.w. griffith and robert harron taking a lunch break during the filming of the birth of a nation

The building of the sets and the laying out of the battlefields were begun; a whole city must be built—later to be burned. Eighteen thousand soldiers had to be arranged for— men to fight for the North and men to fight for the South. And they must have not only uniforms, but also horses. An unexpected difficulty arose. A war in Europe was imminent and the quarreling nations were buying horses in this country. He had to have horses, come what might, so he went into the market and bid against England, France, Italy, and Russia. And he must have shells that would explode, and these he bid for; they were harmless, but otherwise the same as the armies were to use. And vast quantities of cotton goods for the Ku Klux Klan—these had to be secured against foreign bidding. His plans mounted; his ambition soared.

“Billy,” he said, “I’m going to take battle scenes at night.”

” ‘Battle scenes at night’?” repeated Billy Bitzer. “It cannot be done. Mr. Greeffith. It is not known how.”

“We’ll learn. Remember, battle scenes at night. That’s what I want.”

“Ve vill do it, Mr. Greeffith,” said Billy.

The Birth of a Nation - Massive troop movements wide shot D. W. Griffith, American film master
The Birth of a Nation – Massive troop movements wide shot

Rehearsals started. He had always been demanding of his cast; now he was more so than ever. They  complained, but he pushed them on, sometimes even bullying them. Expenses mounted. The actor-killing rehearsals continued day after day. He carried everything in his head; not a scrap of paper to guide him. The days he had spent working on his history of the South were now yielding dividends. He knew the war as did few people. But it was from the southern point of view. For six weeks the rehearsals continued; no scene was too small to be rushed over; no scene so big that it could not be improved. He rehearsed the shooting of President Lincoln twenty-two times. Finally the great day came. The camera turned for the first time—and the day was July 4, 19 14. A strip of land had been rented from private owners and closed off; here the battle scenes were rehearsed and then made; there was no retake. And then the ride of the Clansmen was made. Billy Bitzer staked his camera down so as to get the effect of the horses passing over him; and this they did, indeed, as he lay on the ground in the dust raised by their thundering feet. In fact, one of the horses crashed into the camera and broke it. Hastily the camera was patched up and the fierce, demoniac ride continued.

The Birth of a Nation 1915 4

It became a struggle to pay the cast, especially the extras— and there were 16,000 of them. Also there was the matter of supplying them lunch on the set. He himself had to go to the store that was making up the boxes and ask the store to trust him. It agreed to. No sooner was one problem solved than another came to take its place. But he kept the camera turning; the picture was going into the box. He worked furiously; no writing in secret now. Mr. Aitken came to him. “Griffith, I see on the office memorandum you want more money. Haven’t you got enough?” “No, Mr. Aitken. I’ll have to have more.” “You’ve spent all the money set aside for the picture.” “Things have been against me, Mr. Aitken. The war has made a big difference. I’ll need $50,000 more.” Mr. Aitken looked at him, aghast. “We haven’t got it and we can’t get it. Finish up the picture and we’ll salvage what we can.” “The picture would be botched. I couldn’t do that, Mr. Aitken.” “Then you’ll have to do it alone. There will be no more money.”

Griffith was stunned. The picture was half completed—no more money. It was a black night, but he was not defeated. Work was stopped. Griffith went to his friends and asked for money—a bitter experience for such a proud and haughty man.

“I haf friendts undt I vill ask dem,” said Billy Bitzer.

“I have friends, too,” said John D. Barry, his secretary and office manager. “I have a well-to-do one in Pasadena. I’ll ask him.”

A day or two later Barry came into Griffith’s office, his face beaming, his eyes shining. He held up a check. “Mr. Griffith, I’ve got $700.”

For a moment Griffith could not speak. “God is on our side,” he said, touched. There appeared on the set the Reverend Thomas Dixon, tall and lean and sallow. Actors in make-up and in Civil War costumes were waiting to be rehearsed; they stared at the visitor. Who was he? Griffith went quickly to meet him. The actors stared at this, too, for they knew that their director did not like to be interrupted in a scene. After the greetings were over, the distinguished author came directly to the point.

“D. W., y’know-” Griffith caught the tone. “Excuse me,” he said hastily; “let’s walk over there where we can be alone. I think it will be better,” he added in a notable understatement. “You know,” continued Dixon when they withdrew, “you agreed to pay me $2,500 for my book and play. I dislike to speak of this, but I haven’t got anything yet.” Griffith was embarrassed and ill at ease. “I’m kind of low on money just now, Mr. Dixon. Could you wait awhile? I’ll pay you, you can depend on that.” “I feel I have the right to expect it now. You led me to believe that in the beginning,” said the austere visitor. “I know I did, but unexpected expenses have come up.”

There was an embarrassed silence. “Mr. Dixon, will you accept ten times that amount in stock in our company?” He didn’t know about that, the Reverend Mr. Dixon said; stock deals were always a treacherous business. But the earnest, the persuasive Griffith got him to agree, and finally the Reverend Mr. Dixon left.

The actors were watching the sallow man and they were watching Griffith, but Griffith offered no explanation.

“Who was dot sour apple?” asked the privileged Billy Bitzer. “An old friend,” said Griffith and then, without being too abrupt with Billy, took up his directing. At last the picture was finished. So well had he rehearsed—so well had he prepared—that not one battle scene had to be taken over. All of the picture, including the battle scenes and the ride of the Clansmen, was shot with one camera. That camera has disappeared; no one knows what became of it.

(Note: If that camera could be found and put on exhibit in the D. W. Griffith section of the Museum of Modern Art, it would be an outstanding addition. It would bring us close to this great period in American picture making.)

Peck and Berndt with Pathe Camera once owned by Billy Bitzer
Gregory Peck and Berndt with Pathe Camera once owned by Billy Bitzer

The most famous “still” picture that has ever come out of Hollywood was one involving Lillian Gish and an unknown soldier—unknown, that is, until recently. The still showed Lillian Gish coming out of the hospital in Atlanta; as she came out, a Union soldier, his hands resting wearily on his rifle, sees Lillian and looks at her with such yearning, in such an I-see-anangel way that it brought down the house. The man was an extra and when the film was over he melted into the California mist. Years later, in fact, recently, it was discovered this immortal was a man named Walter Freeman. (Author’s comment: I wonder if he is living. I hope so, indeed.)

Lillian Gish - Birth of a Nation
Lillian Gish – Birth of a Nation

Then came the cutting. Griffith sat in the little cutting room on a chair with metal legs, hunched over the cutting table, endlessly running the film forward and backward to bring out the contrasts he wished. He seemed always to know what he wanted and he seemed never to tire. Finally the picture was completed; it had cost $110,000—a staggering sum.

From Mae Marsh, in a letter to the author:

You ask what salary we got in The Birth of a Nation. He was driven for money, but there was not a week we were not paid. I got $35 a week. In Intolerance I got $85. After the release of Intolerance and the attention the picture attracted, I joined the newly formed Goldwyn Pictures Corporation at $3,000 a week. That was the way things went in early Hollywood.

the birth of a nation - lillian gish - elsie stoneman rescued

It was announced that the picture was coming to Boston, the birthplace of Abolition, the city from which William Lloyd Garrison—the first Abolitionist—had thundered. Immediately the city was in arms. Negro preachers and Negro leaders and white teachers and lawyers denounced the film. It should not open. But it did open in April 19 15 at Tremont Temple. Four thousand Negroes, led by white supporters, turned out to oppose it. They gathered on the steps of the capitol building, on Beacon Hill, and demanded that the film be suppressed. There were just as many people on the other side, demanding that the film continue. There was a clash. The police could not control the situation; the Boston Fire Department was hastily summoned and came with its hose. The clash promptly became worse. The call went out for medical aid. Two ambulances were required to get the injured to the hospitals. Governor Walsh threatened Griffith with arrest. Griffith was bewildered by the storm of protest that swept the country. He was derided on the streets; he got threatening letters and telephone calls. He was attacked by newspapers. He said that he loved Negroes; they said that if the picture represented his love, they did not want it. He had no knack for controversy and got the worst of it. At first he had been proud of the picture; now he did not want to be seen in public and would go to no social function. Griffith was back in the Hotel Astor, but now he did not have to walk through the lobby to attract attention. He was the man of the hour, the most talked-about man in the entertainment field in America.

lillian gish - nacimiento-de-una-nación - the birth of a nation 5

The telephone rang. “Mayor Mitchell wants to talk to you.”

The mayor of New York!

Griffith could hardly believe his ears. “I want to see you,” said John Purroy Mitchell when he came on the telephone. “A committee has asked me to go with them to your hotel.” What, thought Griffith, could a committee want to talk to him about? Was it some kind of award? When the door opened, Griffith was surprised to have Mayor Mitchell, one white man, and two Negroes walk in. Introductions were made. Mayor Mitchell came immediately to the point. “We are shocked by your picture. You have done a great injustice to the colored people, and, in all fairness, you should take the picture off.” Griffith was stunned. “What do you think is wrong?” he finally managed to ask. “You make,” said one of the committee, “the Negroes out as heinous, inhuman creatures. Every time a Negro appears in the film, he is a villain.” “The villains are the carpetbaggers,” said Griffith when he got possession of himself. “They were white; they led the colored people into the situations I depicted. I must tell you, we have very carefully researched the story and everything shown on the screen happened. You have no right to ask me, on historical grounds, to close the picture, and I will not agree to do so.” “The Negroes never acted that way,” said one of the committee harshly. “You have them seizing white girls on the streets and making off with them. That is not true.” “I am afraid it is true,” said Griffith, dismayed by the bitterness displayed against him. “You don’t realize the impact that the War Between the States made on people. People- Negroes and whites—were not in their right minds. That is what it amounted to.”

The Birth of a Nation 1915 1

“I accuse you,” said one of the committee, “of being anti- Negro.” “I’m not anti-anybody,” said the shocked man. “I’m so overwhelmed by your accusations that I can hardly speak. But I will say this. I grew up with Negroes. I was nursed by a Negro mammy.” The talk grew in heat. Griffith maintained he was innocent; the mayor and the committee maintained he had brought disgrace and humiliation on what one of the committee called “ten million American citizens.” Griffith said again that the real culprits were the carpetbaggers; and that the southerners were better friends to the Negroes than the unscrupulous men from the North. Finally it was settled: Griffith agreed to take out the hate-arousing scenes; and this was done. One hundred and seventy scenes were taken out. One thousand three hundred and seventy-four “shots” were left in. The picture reopened. Even with the deletions, the situation was so delicate that Pinkerton detectives were placed in the audience to see that there was no disturbance. And there they sat, performance after performance, ready to pounce. But they were not called on and did not have to pounce. The picture as offered to the public was two hours and forty-five minutes long. Griffith had suddenly been catapulted into national attention. Some people were calling him a genius; others were denouncing him bitterly. He himself was bewildered by the violence of the feeling that had been aroused against him personally. He went around in a cloud, hardly knowing what to do. The only thing he knew was that he was right and that he had presented a fair treatment of conditions after the war. He had to guard himself against fanatics who must see him personally and tell him where he was wrong.

The telephone at the Astor rang. “Cora Hawkins is here to see you,” the operator said. He was delighted. How well the two of them had got along together. How well they understood each other. When he heard the elevator he went out—and there was broad, thick, heavy-waisted, square-faced Cora. With her was a little boy. “Hello, Cora!” he called heartily. “Come in. I’m glad to see you. Is this little David?” “How-de-do, Mr. David,” said Cora soberly. “Yes, that’s my boy. I been tellin’ him about you.” “Sit down, Cora. Well, he’s a promising-looking boy. I often think of those days on East Thirty-seventh Street, and how you cheered me up when I was low.” “I think of them, too,” said Cora in the same sober, reserved way.

They talked, but not in the easy way of old. “A person doesn’t know how time races by until he sees an old friend who reminds him of the past,” said Griffith. “Well, how’re things with you, Cora? I hope everything is going well.” Cora moved uneasily. Something was on her mind. “Mr. David, I always think you my friend. I always think that.” “Why, I am, Cora. I am indeed. Are you in some kind of trouble?”

“Yes, suh. I is.” “Well, now maybe we can take care of that! What is it, Cora? Are they after you?”

“It ain’t that kind of trouble, Mr. David. It’s deeper’n that. It’s here.” She indicated her generous bosom. “Mr. David, I go to see the picture you have in de theater, almost the first one in. I go in. An’ den the picture commence.” She paused, so great was her emotion. “It hurt me, Mr. David, to see what you do to my people. I could hardly stan’ it. I keep savin’, ‘Dis is not my Mr. David. He same name, but he different man.’ But I have seen your photo in de paper an’ I know it is my Mr. David that I wuk for on East Thirty-seventh Street and we have so many nice talks.”

lillian gish - nacimiento-de-una-nación - the birth of a nation

He was genuinely touched. “Why, that’s history, Cora. I didn’t make it up. My father told me much and I got much out of books.”

“It may be history but it not my people. No colored folks ever do like the picture say. Dat place where Mae Marsh run through the forest with Gus after her, an’ he ketch up—and she jump off the cliff—that never happen, Mr. David. My people never do dat.” “He was a mulatto, Cora. I am afraid such scenes did take place.” “Finally de picture is over an’ I come out, feelin’ sick, an’ I go in so happy.”

The Birth of a Nation (1915)Directed by D.W. Griffith Shown: Mae Marsh
The Birth of a Nation (1915) Directed by D.W. Griffith Shown: Mae Marsh

“I am sorry, Cora. I am, indeed. I wanted to show how the colored people were misled by white scalawags.”

“I don’t know what you meant to do—I only know what I see.” She paused, choked with emotion. “Mr. David, you see him.” She pointed to the little boy. “His name no longer David. It’s Thomas.”

Griffith was deeply hurt. He again tried to explain his point of view, but Cora saw only hers, and a pained silence rose between them. Finally she stood up. “Good-by, Mr. David. Come on, Thomas.” Taking the child by the hand, she led him out. He sat for some moments, a hurt and disturbed man. The telephone rang. Many things to do, many people who wanted to see the man who made the most controversial picture in the history of the world. Now, for the first time, money was pouring in to him. What would he do with it? What, with money at his command, would the restless, driving man do next?

by HOMER CROY – 1959

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Intolerance: Love’s Struggle Throughout the Ages (1916)

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L.A. Film Favorites in “The Clansman” February 1915 (LAH)

Los Angeles Herald, Volume XLI, Number 85, 8 February 1915


Practically Every Dollar Spent on Wonderful Picture Stays in This City With 70 per cent of all motion pictures shown to the world now being made in this city, Angeles is gaining new laurels In D. W. Griffith’s $500,000 filmization of “The Clansman,” the novel by Thomas Dixon, Jr., which is being shown this week at Clune’s auditorium.

Clunes Auditorium L.A.
Clunes Auditorium L.A.

The entire film was made in this city and Los Angeles residents were employed—many thousands of dollars being paid out in salaries alone, aside from the thousands spent for incidentals. Aside from the actual film itself, practically every cent of the half-million dollars the picture cost remains in this city. Los Angeles will find further interest in the picture by reason of three of its film favorites being cast in notable roles.

They are Miriam Cooper, Mae Marsh and Lillian Gish. These duchesses of the film realm will be seen, respectively, as Margaret Cameron, Florence Cameron and Elsie Stoneman. Besides these favorites will be seen Henry Walthall, Syottiswoode Aitken and Ralph Lewis, all actors with a national reputation. Many other Angelinos will be recognized on the screen by their friends, as, among the thousands of “extra” people utilized in the battle and other scenes, are men well known in public life who “acted” for the sheer fun of the thing, and not a few through sentimental reasons—their forebears having been active participants in the stirring events which made history in the south before, during and after the war.

“The Clansman” depicts more truly the history of events that led up to the civil war and the reconstruction period of the south than any half a dozen books, and much more effectively. “The Clansman” is the acme of realism, fully 25,000 soldiers taking part in the battle scenes. All of the night effects were produced in the local laboratory.

The Birth of a Nation (David W. Griffith Corp., 1915). Herald2
The Birth of a Nation (David W. Griffith Corp., 1915). Herald2
Los Angeles Herald, Volume XLI, Number 85, 8 February 1915
Los Angeles Herald, Volume XLI, Number 85, 8 February 1915

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The Clansman is coming to Local Theater – 1916

Morning Union, 8 January 1916

The Clansman is coming to Local Theater shortly

*** The Clansman also known as “The Birth of a Nation”

The Auditorium management this morning make the important announcement that three complete performances of “The Clansman” will be given in this city Sunday and Monday, January 23rd and 24th, opening with a matinee Sunday afternoon at 2 o’clock. The second show will be given Sunday night and the third Monday night. The prices will be 25 cents for children, 50 cents for adults and 75 cents for reserved seats. Special music and singing is a part of the attraction.

The Birth of a Nation 1915 3

This production of twelve reels was directed by D. W. Griffith, the world’s foremost motion picture producer. It is an adaptation from Thomas Dixon, Jr’s popular novel of the same name, and is the costliest motion picture ever produced. “The Clansman” deals with the Civil War period. It shows the causes that led up to this conflict land carries Die spectator through the war. In “The Clansman’’ are shown the most marvelous battle scenes that have ever been staged. The siege before Petersburg with thousands of soldiers in action, is realistically shown in Die picture. The battle fields were laid out and trenches dug under the direct supervision of seven G. A. R. army veterans who took part in the original conflict.

The Birth of a Nation - Massive troop movements wide shot D. W. Griffith, American film master
The Birth of a Nation – Massive troop movements wide shot

These veterans, two of whom were commissioned officers, remained with Mr. Griffith during the entire period that the Scenes were being – staged. Artillery duels, in which explosive shells are hurled by both the Northern and Southern troops, from huge mortars, are shown in motion pictures for Die first time in “The Clansman.’’ The artillery used is Die same that was used during the Civil War and borrowed from the U. S. government tor the occasion. The explosive blank shells used in the mortars were constructed especially for these big guns by an expert fire-works manufacturer. More than 500 of these shells are used in the battle scenes. They cost thousands of dollars. In directing the battle scenes, Mr. Griffith used field telephones, flag signals, field couriers and even a captive balloon.


These methods were not used as part of the army equipment, but were merely used by Mr. Griffith in staging the production. He used the modern war methods to better execute the methods of 1861 -65. The artillery duels present one of Die most striking features of the picture: “The Clansman” describes the organization and motives of the famous Ku Klux Klan, and shows more than 2000 of these white-hooded riders in their raids on the negroes. Gen. Sherman’s historical march to the sea, together with the burning of the entire city of Atlanta, is shown in the picture. The burning of Atlanta is shown at night. The entire city with its countless number of buildings and dwellings is shown in the destruction.

lillian gish - nacimiento-de-una-nación - the birth of a nation

A terrific battle between Ku Klux riders and negro troops, provides another thrilling feature. The assassination of President Lincoln by Wilkes Booth, is shown for the first time in the history of motion pictures. The final scenes of “The clansman” provide the most powerful sermons that could possibly be preached against the horrors of war. “The Clansman” is presented by an all-star cast including Henry Walthall, Mae Marsh, Miriam Cooper, Josephine Crowell, Spottiswoode Ailken, Balph Lewis, Lillian Gish, Elmer Clifton, Robert Harron, George Seigmann, Walter Long. Mary Alden, Joseph Hennebery, Sam de Grasse, Howard Gave, Donald Crisp, Win. De Vaull, and Jennie Lee.

  • Grass Valley Department – 1916
  • Morning Union, 8 January 1916
Morning Union, 8 January 1916 Birth of a Nation
Morning Union, 8 January 1916 Birth of a Nation

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d.w. griffith and robert harron taking a lunch break during the filming of the birth of a nation


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Clansman’s Realism, Inspires Awe – Los Angeles Herald 1915

Los Angeles Herald, Volume XLI, Number 86, 9 February 1915

Clansman’s realism, inspires awe


THE mastery of David Ward Griffith in the motion picture production field, it would seem, is now supreme. If this remarkable director never again touches his hand to pictography—and it would indeed be regrettable if he didn’t—his ’’Clansman” will stand as a monument of glorious achievement in the future annals of cameric art.

lillian gish - nacimiento-de-una-nación - the birth of a nation 6

The picture was presented here, for the first time in public, at Clune’s Auditorium last night, and the Jam of people that packed the mammoth theater “from cellar to garret” is only more convincing evidence of the growing interest in the newer branch of indoor amusement. There was not a vacant seat in the entire house – if there were, only the fellow with the magnifying or field glasses could discover them. Whether this exuberance of enthusiasm was prompted by curiosity or a wish to pay deserving tribute to the “wizard of the film” or just another example of the ever increasing tide of favor toward the “movies” we are not prepared to say offhand, but to the man up a tree it looks like the theatergoers had about come to a realization of the vastly important part the camera lens is now playing in this game of make believe and they deeply appreciate the work the Griffith brain and hand are doing in the way of advancing a worthy and educational science.

“The Clansman” has a score and more good features, and possibly only one or two to criticise and these latter come under the heading of “photographic inconsistencies.” While the immenseness of the picture (it is in twelve reels and each reel is crammed full of situations that only can be fully described by the adjective “gigantic”) strikes you as amazing, the artistic scale on which it is built astounds the more. It is hardly conceivable that a so tremendously big production could be made so realistic and yet retain its wondrous beauty.

 There is the great battle scene in which 25,000 soldiers participate (this is the press agent’s estimate, not ours; after witnessing the men in action on the screen we should say there were 250.000), the thrilling rides of the white-cloaked  members of the Kin Klux Clan, the assassination of Lincoln, the burning  of Atlanta, the capture and rout at the little old log cabin, the clash in the street between the whites and blacks—and oh, so many other moments of intense excitement that the mere repeating sends the chills on a marathon in our spinal region.

Startling all of them, even awe-inspiring, but never sensational. Quite the most spectacular section of the film is the battle of which we already have spoken, and Sherman’s triumphant march to the sea, which follows on its heels. These scenes are the very acme of realism, the strictest attention having been paid to the details as recorded by authentic histories.

The Birth of a Nation (1915)Directed by D.W. Griffith Shown: Mae Marsh
The Birth of a Nation (1915) Directed by D.W. Griffith Shown: Mae Marsh

In one scene Florence is shown going to the spring for water after having been warned by her brother not to expose herself. The Journey is a quick one, covering only a few feet of film. While still at the stream, the girl is surprised by Gus, a burley black, and she begins her fight for her honor. She breaks from the embrace of her assailant and runs, with the negro at her heels. The picture takes her over mountain, across prairie and desert and finally reveals her in a leap from a high cliff to her death. Another scene that is intensely dramatic is the one where a friend of the Ku Klux clan leader battles his way to victory against a horde of his enemies.

The story of the play is equally as absorbing as it is dramatic. It deals with the Civil War and the reconstruction period, showing with graphic intensity the causes that led up to the vital struggle and the anguish and suffering that were unavoidable after-effects. Racial prejudice figures to quite a surprising extent, but offense can scarcely be taken at this because without it a drama depicting the conflict between north and south would be inadequate and unreal. Director Griffith evidently knew beforehand the ability of his players else he would not have risked so important assignments in their hands. The leads are taken by Henry Walthall, May Marsh, Lillian Gish, Mary Aiden, Donald Crisp, Miriam Cooper, Spottiswoode Aitken, George Seigmann, Sam De Grasse. Robert Harron and Jennie Lee. The photo-drama that is superior to “The Clansman” has yet to be produced.

During the Intermission between Parts One and Two, Judge A P Tugwell of the moving picture censor board told why the board favored showing of the film.

Guy Price – 1915

Note: “Clansman” aka “The Birth of a Nation”

Los Angeles Herald 9 February 1915 (Clansman)
Los Angeles Herald 9 February 1915 (Clansman)
Clunes Auditorium L.A.
Clune’s Auditorium L.A.

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Classics of the silent screen by Franklin Joe (1959) – “The Birth of a Nation”

Classics of the silent screen by Franklin Joe (1959)

The Birth of a Nation 1915


Writing a few paragraphs on The Birth of a Nation and hoping to do it some kind of justice is like trying to condense the Bible, or all the plays of Shakespeare, into a short synopsis. The film warrants a complete volume, and one day possibly it will get one. Undoubtedly, The Birth of a Nation is the most important single film in the evolution of the screen, although not necessarily the greatest. But it is the film from which all movie grammar derives, and most important of all, it is the film which overnight won worldwide respect for the motion picture medium, and raised it from a mere novelty entertainment to the status of an art.


The first American film of any real size and scope, and certainly, at three hours, the longest up to that time (1915), The Birth of a Nation dramatizes the events leading up to, and following, the Civil War of 1861-65. Part One includes a prologue depicting the introduction of slavery into America in the seventeenth century, and the rise of the abolitionist movement. From there it goes into the outbreak of the Civil War, and finishes with Lee’s surrender and the assassination of Lincoln.

lillian gish - nacimiento-de-una-nación - the birth of a nation 4

The second part of the film—the half that has always aroused so much controversy over its alleged anti-Negro bias—concerns the effects on the South of Lincoln’s death, the exploitation of the newly freed Negroes by unscrupulous Northern politicians and industrialists, and the rise of the Ku Klux Klan to save the old South from anarchy. It is essential to point out that the Klan of that period was vastly different, both in conception and activities, from the sheeted bigots of today. Whether or not the Klan of the post-Civil War period was justified is something that we’ll leave to the historians, but it was essentially a patriotic and not a terrorist force.

lillian gish - nacimiento-de-una-nación - the birth of a nation 2

Griffith told of this tremendous, turbulent and unhappy period with a mixture of documentary and romanticist styles. It would be possible to eliminate the personal stories entirely, and be left with a vivid and accurate reconstruction of the times—the huge battle scenes, superlatively staged and photographed, like William Brady stills come to life, the scenes in Lincoln’s cabinet and field hospitals, the guerilla raid on Piedmont, the sacking of Atlanta, the surrender of Lee, the death of Lincoln, the reconstruction in the South, the new Southern “Parliament” dominated by Negroes, and the bloody clashes between Negro militia and the Klan.

The Birth of a Nation 1915 1

lillian gish - nacimiento-de-una-nación - the birth of a nation 6


As Woodrow Wilson stated after seeing the film, “It is like writing history with lightning; my only regret is that it is all so terribly true.” The film’s alleged anti-Negro bias has provoked controversy ever since the film’s release, and further comment here would certainly solve nothing.

lillian gish - nacimiento-de-una-nación - the birth of a nation 5

Let me just say that basically the film is historically accurate— but that, naturally, it is an accuracy from a Southern viewpoint, and at times emotionalism may outweigh discretion in certain respects. Griffith certainly did not set out to make a biased film, and indeed most of the incessant storm that has continued ever since has been whipped up and sustained not by Negro interests but by political interests—ironically, the same sort of circumstance which caused the unrest in the South in the first place! It is certainly easy to see however, why the film excited so much feeling at the time. Audiences were not accustomed to films which manipulated their feelings and worked on their emotions.

The cutting, the dovetailing of sequences, the ideas implanted, all of these things and more had tremendous impact on a film audience which as yet had no inkling of the power of the film for suggesting thought. It was, and still is, political dynamite. It is also a job of film-making of the first magnitude. Since it is still a film to take one’s breath away today, one can imagine the effect it must have had in 1915, and not only for its sheer spectacle. Some of its best moments were quiet and delicately underplayed scenes, with thoughts and motions suggested by the merest trembling of the lips, or sudden look of pain in the eyes.

The Birth of a Nation (David W. Griffith Corp., 1915). Herald2
The Birth of a Nation (David W. Griffith Corp., 1915). Herald2

The subtle performances Griffith achieved in a period when pantomime was more prevalent than genuine acting were not lost on movie audiences, and most of the players in The Birth of a Nation soon become top-ranking “names”— especially, of course, the leads, Lillian Gish, Mae Marsh (a particularly fine performance as the tragic “Little Sister”) and Henry B. Walthall as “The Little Colonel” and leader of the Klan—perhaps the most moving of his many fine screen performances. There were other notable performances too, from Wallace Reid as an athletic young blacksmith, Walter Long as a renegade Negro, George Siegman, one of Griffith’s favorite villains, Ralph Lewis, playing the counterpart of the real-life Thaddeus Stevens, Joseph Henaberry (as Lincoln), Raoul Walsh (as John Wilkes Booth), Donald Crisp as General Grant.


Classics of the silent screen by Franklin Joe 1959 cover
Classics of the silent screen by Franklin Joe 1959 cover

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The REAL African people, members of Lillian Gish – Fan group

SPOILER WARNING !!!, this material is related to the attack that targeted Miss Lillian Gish and her sister Dorothy, their reputation and memory.

After “The Birth of A Nation” was released and criticized as being racist, D.W. Griffith was very hurt. He decided to make Intolerance: Love’s Struggle Throughout the Ages (1916) as a follow-up, to show how damaging and dangerous people’s intolerance can be.

Years later, this same Babylon set was replicated as the central courtyard design for the new Hollywood & Highland complex in Hollywood, which opened in 2001. Included among the “1001 Movies You Must See Before You Die”, edited by Steven Schneider.

The release of “The Birth” inspired many African-Americans to start making their own films in an attempt to counter this film’s depiction of them and to offer positive alternative images and stories of the African-American people.

Hollywood & Highland complex - Griffith's Babylon set replica
Hollywood & Highland complex – Griffith’s Babylon set replica

 D.W. Griffith had previously produced and directed Biograph’s The Rose of Kentucky (1911), which showed the Ku Klux Klan as villainous – a sharp contrast to “The Birth of A Nation”, made four years later, in which the KKK was portrayed in a favorable light.

The Rose of Kentucky – International Movie Database

The Rose of Kentucky - 1911
The Rose of Kentucky – 1911 – still frame

That fact proves that films were even then part of entertainment industry, nothing more than a business. Nothing like today, when the hate is to thick, one can almost feel it like a disturbing presence. Racist issues never ceased and with catalists like BSU, never will.

The BGSU website - Gish Theater description

Black Student Union on Twitter - Hashtag - DITCH THE GISH
Black Student Union on Twitter – Hashtag – DITCH THE GISH, upper left corner a logo (fist combined with the map of Africa, colors Red-Green-Yellow)

They don’t care. Her other achievements mean nothing to them. They are so focused on one movie. It makes me so sad. I agree about the hashtag “ditch the gish”. It does diminish their credibility. I was at the open forum and we were greatly outnumbered. The majority of the students were polite. The notice on the theater itself all but accuses Dorothy and Lillian of being racists. That makes me angry too. (Barbara Carr – Oregon)

The Birth is on sale again on all major online sites (Amazon, Ebay), that’s because , as it happens it was restored to full HD.

Birth of A Nation for sale online
Birth of A Nation for sale online

Also I wish to mention that on the other LILLIAN GISH group I have constantly requests for membership from Sudan, Ghana, Somalia, the REAL African citizens who are enjoying Lillian’s silent films because (She was right) those movies are interpreted in universal language of “dancing emotions”. But this fact is not in her favour either – I suppose. I have marked all Gish Theater articles as offensive, #spoiler and small group interest. All this chain of actions (part mentioned above) leads to one conclusion: Bottom line; all is part of a carefully elaborate plan that is deploying it’s final disgusting phases as I’m editing this text.

LILLIAN GISH Fan Group Members composed of African People
LILLIAN GISH Fan Group Members composed of African People and many other nationalities
African People - membership requests
African People – membership requests (approved)

The Gish Theater Saga

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Students attending to Black Issues Conference - Gish Theater
Students attending to Black Issues Conference – Gish Theater

The Gish Film Theater Saga


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We need to remember the long-suppressed history of women including their pioneering contributions to cinema.

SPOILER WARNING !!!, this material is related to the attack that targeted Miss Lillian Gish and her sister Dorothy, their reputation and memory.

If the present period is one of heightened concerns about race, it is also one with a reawakened feminism, a fresh emphasis on the need to recover and remember a long-suppressed history of women including their pioneering contributions to cinema. In the age of the MeToo movement, one sure way to rebuild support for the Gish Film Theater is to remind people of the roles of Lillian and Dorothy as strong, emancipated women at a time when females were struggling to obtain the vote and define themselves as something other than the property of their husbands. The sexist overtones of the hashtag, “Ditch the Gish,” means that the Black Students Union have lost whatever moral high ground they thought they might have gained by harping on the Klan and the “Birth” controversy.The New Gish Theater BGSU Front

Please consider that all the material related with this above mentioned attack is marked on as SPOILER. If interested only in the seventh art and theatre please do not read it.

Thank you kindly for visiting Miss Lillian Gish fan page.

Black Student Union on Twitter - Hashtag - DITCH THE GISH
Black Student Union on Twitter – Hashtag – DITCH THE GISH, upper left corner a logo (fist combined with the map of Africa, colors Red-Green-Yellow)

The Gish Theater Saga

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