THE BIRTH OF A NATION
DIRECTED & PRODUCED BY D.W. GRIFFITH
EXCEUTIVE PRODUCER H.E.AITKEN
DAVID W. GRIFFITH CORP.
EPOCH PRODUCING COMPANY
Information from IMDb
Plot Summary
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
Full Cast
Lillian Gish ... Elsie - Stoneman's Daughter
Mae Marsh ... Flora Cameron - The Pet Sister
Henry B. Walthall ... Col. Ben Cameron (as Henry Walthall)
Miriam Cooper ... Margaret Cameron - Elder Sister
Mary Alden ... Lydia - Stoneman's Mulatto Housekeeper
Ralph Lewis ... Hon. Austin Stoneman - Leader of the House
George Siegmann ... Silas Lynch - Mulatto Lieut. Governor (as George Seigmann)
Walter Long ... Gus - a Renegade Negro
Robert Harron ... Tod - Stoneman's Younger Son
Wallace Reid ... Jeff - the Blacksmith (as Wallace Reed)
Joseph Henabery ... Abraham Lincoln (as Jos. Henabery)
Elmer Clifton ... Phil - Stoneman's Elder Son
Josephine Crowell ... Mrs. Cameron
Spottiswoode Aitken ... Dr. Cameron
George Beranger ... Wade Cameron - Second Son (as J.A. Beringer)
Maxfield Stanley ... Duke Cameron - Youngest Son
Jennie Lee ... Mammy - Tthe Faitful Servant
Donald Crisp ... Gen. U.S. Grant
Howard Gaye ... Gen. Robert E. Lee
Monte Blue ... Minor Role (uncredited)
Harry Braham ... Cameron's Male Servant (uncredited)
Bobby Burns ... Klan Leader (uncredited)
Edmund Burns ... Klansman (uncredited)
Edward Burns ... Klansman (uncredited)
Fred Burns ... Klansman (uncredited)
David Butler ... Northern Soldier / Confederate Soldier (uncredited)
Peggy Cartwright ... Young Girl in Cabin (uncredited)
William E. Cassidy ... Minor Role (uncredited)
Dark Cloud ... General (uncredited)
Lenore Cooper ... Elsie's Maid (uncredited)
Sam De Grasse ... Sen. Charles Sumner (uncredited)
William De Vaull ... Nelse (uncredited)
Charles Eagle Eye ... Man Who Falls from Roof (uncredited)
John Ford ... Klansman on Horse Holding Up Hood with Hand (uncredited)
Alberta Franklin ... Minor Role (uncredited)
William Freeman ... Jake / Sentry at Hospital (uncredited)
Gibson Gowland ... Minor Role (uncredited)
Olga Grey ... Laura Keene (uncredited)
D.W. Griffith ... Himself (1931 reissue version) (uncredited)
Fred Hamer ... Minor Role (uncredited)
Russell Hicks ... Minor Role (uncredited)
Walter Huston ... Himself (1931 reissue version) (uncredited)
Charles King ... Undetermined Role (uncredited) (unconfirmed)
Alberta Lee ... Mrs. Lincoln (uncredited)
Elmo Lincoln ... Blacksmith (uncredited)
Betty Marsh ... Child with Dr. Cameron (uncredited)
Donna Montran ... Belle of 1861 (uncredited)
Eugene Pallette ... Union Soldier (uncredited)
Vester Pegg ... Minor Role (uncredited)
Alma Rubens ... Belle of 1861 (uncredited)
Allan Sears ... Klansman (uncredited)
Charles Stevens ... Volunteer (uncredited)
Madame Sul-Te-Wan ... Black Woman - Dr. Cameron's Taunter (uncredited)
Erich von Stroheim ... Minor Role (uncredited)
George Walsh ... Minor Role (uncredited)
Raoul Walsh ... John Wilkes Booth (uncredited)
Jules White ... Confederate Soldier (uncredited)
Violet Wilkey ... Flora Cameron as a Child (uncredited)
Tom Wilson ... Stoneman's Servant (uncredited)
Mary Wynn ... Minor Role (uncredited)
Writing Credits
Thomas F. Dixon Jr. (novel "The Clansman: An Historical Romance of the Ku Klux Klan")
, play "The Clansman" and Mnovel "The Leopard's Spots"
D.W. Griffith &
Frank E. Woods
Original Music
Joseph Carl Breil
D.W. Griffith
Cinematography
G.W. Bitzer
Trivia
Director D.W. Griffith visualized the whole film in his mind and did not write out a script or keep written notes.
Some of the black characters are played by white actors with make-up, particularly those characters who were required to come in contact with a white actress. The person playing the Cameron's maid is not only clearly white, but is also obviously male.
The character of Austin Stoneman is based on Thaddeus Stevens, a representative from Pennsylvania, including the details of his wig and clubfoot.
D.W. Griffith directed 13 Civil War-based one-reelers before undertaking this film.
The Western Costume Co. received one of its first tasks on this film, to provide Civil War costumes. The costumes were also supplied by Goldstein and Co. The designs were made by Robert Goldstein and celebrated early costume designer Clare West.
Because of the huge importance of this film, it is suspected that some actors may have exaggerated claims to have worked on the film in order to bolster their resume. Among the unconfirmed cast members are John Ford, who claimed to have played a Klansman riding with one hand holding up his hood over one eye so he could see better. Such a Klansman is visible in the film and may indeed have been Ford. Despite frequently being credited as a "Piedmont Girl", actress Bessie Love denied claims that she ever appeared in this film. Erich von Stroheim for years claimed to be the stunt man who falls from a roof (breaking two ribs in the process), but assistant director Joseph Henabery strongly denied that von Stroheim was ever on a D.W. Griffith set until after Intolerance: Love's Struggle Throughout the Ages. Some have claimed to spot what appears to be a blackfaced von Stroheim as a voter in the election poll scene. [error], who was on the set of the film in 1915, claimed that the actor who did the roof-fall stunt was in fact Indian actor Charles Eagle Eye. George Beranger was credited as "John French" in the original program notes for some reason.
After D.W. Griffith's death, Donald Crisp claimed to have personally directed the battlefield sequences. Historians dismiss this claim as total nonsense, as Griffith did not delegate second units but directed every scene himself. Crisp may or may not have been one of the dozen or so assistant directors who were sent into the action to help maneuver the extras.
Jennie Lee's character is referred to as "Mammy" in the film's titles, but original press material called the character "Cyndy", while other sources over the years have listed the character's name as "Dixie".
In original program material, George Beranger is listed as "J.A. Beringer" and the character of Duke Cameron is credited to "John French". Also, Wallace Reid's name is misspelled "Reed" in original programs.
Joseph Henabery, who was one of D.W. Griffith's chief assistant directors as well as contributing research,
Elmo Lincoln, who plays "White-Arm Joe" in the film, also played eight additional bit parts.
The name of the character played by William De Vaull is listed as "Nelse", while the character played by William Freeman is officially listed as "Jake." Many cast lists omit the character of "Nelse" and credit De Vaull instead as "Jake", while changing Freeman's character to that of "Sentry".
The battlefield sequences were shot on the property on which now stands Universal Studios.
The film was made with only a single retake of a single scene, due to a continuity error involving Mae Marsh and the piece of cotton pinned to her shirt during the homecoming sequence.
D.W. Griffith's father served as an officer in the Confederate army during the Civil War.
Klansmen in full robes were used to publicize the opening in Los Angeles, where the film's premiered with the title "The Clansman", after the novel on which it was based.
First film to be shown in the White House (to President Woodrow Wilson).
When it opened in New York City, ticket prices were $2.00 each, which was considered astronomical at the time. In today's currency, accounting for inflation, that would be about $17 - $20. One million people saw the film within a year after its release.
The excessive use of smoke-bombs in the battle scenes were to obscure the mostly empty battlefield.
The Ford's Theatre scene was filmed on an outdoor set.
A huge demand for film prints quickly wore out the one and only negative. All later copies of the film had to be made from prints, causing reduced quality.
Because of the racist overtones of the movie, it was banned in several major cities, such as Los Angeles and Chicago.
Most Civil War scenes were based on actual photos of scenes they depict. However, postwar reconstruction scenes were not historically accurate, and many were in fact based on political cartoons rather than photographs (such as the legislature scenes).
The original budget for the film was $40,000, but D.W. Griffith spent $110,000, the largest amount ever spent on a film up to that time.
The original title "The Clansman" was jettisoned for being too tame given the breadth and scope of the subject matter.
The film was 12 reels long.
During filming, camera operator Karl Brown was sure that the movie was just another typical melodrama. At the film's premiere, D.W. Griffith had hired the entire Los Angeles Philharmonic Orchestra to play the score for the film. Brown was amazed; nothing like this has been done before. When the conductor raised his baton, and the orchestra started playing, he said it was so amazing and loud he was shaking his head, "It was like nothing I ever heard." Brown additionally remembers that Griffith hummed certain themes to the composer of the original score that he wanted.
Each major character in the film had a particular musical theme, to be played by either an orchestra or a theater organ during theatrical engagements. While D.W. Griffith was choosing musical themes for the characters, he allowed Lillian Gish to choose her own, or Elsie Stoneman's, theme. Later, that same melody was re-titled "The Perfect Song", and was used as a theme song for the radio and television versions of The Amos 'n Andy Show.
Rated #7 of the 25 most controversial movies of all time. Entertainment Weekly, 16 June 2006.
May 14, 1938, East Orange, New Jersey: While refusing to discontinue showing the reissued The Birth of a Nation, as requested by the East Orange City Council, the Ormont Theater deleted sections of the film termed "objectionable" in a petition signed by 608 people. A.J.Rettig, manager, hit back at the petitioners, saying agitation had been started to "cause unnecessary harassing of an orderly and peaceful business."
Film debut of Monte Blue, Charles King, and Charles Stevens.
At the time of this film's original premiere, it bore a title card that read something like, "This is a depiction of the events of the civil war and of the formation of the Ku Klux Klan from the point of view of the American South." This title card has since been lost.
The actor who played the sentry in the hospital was a bit player whose performance touched audiences all over the country in his scene where he wistfully sighs at the sight of Lillian Gish entering the hospital. In fact, audiences loved the actor's performance so much so that D.W. Griffith tried to track him down, supposedly to no avail. Some filmographies credit William Freeman in this role. Gish corroborates this credit in her autobiography, writing that she met Freeman years later when she was riding in a parade.
Future directors John Ford, Raoul Walsh, Elmer Clifton, Joseph Henabery, Karl Brown and Donald Crisp worked on this film as actors and/or crew members. Erich von Stroheim is also credited by some sources - including von Stroheim himself - with being an actor and/or assistant director on this film, but records show that the first time von Stroheim worked for D.W. Griffith was on Intolerance: Love's Struggle Throughout the Ages, which wasn't shot until more than a year after this film.
Milton Berle has claimed that as an infant he was in this film, though there are no official records to prove it.
Chicago, Illinois, Wednesday, February 28, 1940: "Judge Donald McKinley yesterday ordered the Chicago Police Department to cease interference with The Birth of a Nation, which the police department stopped recently at the Admiral Theater on Lawrence Avenue. The court ruled that an injunction issued March 5, 1917 against police interference was still effective. The film will be shown at the Sonotone Theater, starting Friday."
Historian Kevin Brownlow has expressed doubt concerning 'Fireworks' Wilson' whom Karl Brown, the assistant cameraman, named as the special effects man in interviews. Brownlow's doubt is caused by the fact that there are no references to Wilson in any other accounts from any period, and he has suggested that Brown may have invented the name since he could not recall the name of the film's documented special effects supervisor, Walter Hoffman.
Because of the lax accounting methods of its distributors, it was difficult to determine how much the film actually made at the box office. As a result, those connected with its making ludicrously exaggerated its box office take (Lillian Gish wrote in her autobiography that it made over $100 million). Its actual take is now estimated to be about $10 million, still a fantastic sum for its time.
Due to the chaotic nature of film distribution of the time, numerous fortunes were made on this film by men who had nothing to do with the actual production. Louis B. Mayer was one such beneficiary, who obtained state's right distribution rights for the film on the east coast and the profits allowed him to launch Louis B. Mayer Productions, which soon relocated to Los Angeles.
After this film was released and criticized as being racist, D.W. Griffith was very hurt. He decided to make Intolerance: Love's Struggle Throughout the Ages as a follow-up, to show how damaging and dangerous people's intolerance can be.
It is widely believed that after viewing this film in the White House, President Woodrow Wilson remarked that it was "like writing history with lightning." However, the reality is that Wilson disapproved of the "unfortunate production". It is believed by some of Wilson's aides that the apparent endorsement and approbation was a ruse generated by Thomas F. Dixon Jr., the author of the original novel.
Ironically, the release of the film 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.
The NAACP attempted to have this film banned. After that effort failed, it then attempted to have some of the film's more extreme scenes censored.
Some of the investors were Louis B. Mayer, H.E. Aitken and Jesse L. Lasky among many others in Hollywood at that time. The film's success is what helped the three to form their own film studios--Mayer started Louis B. Mayer Productions, which eventually became MGM, and Lasky started Famous Playes-Lasky, which eventually became Paramount Pictures.among others.
Ironically, D.W. Griffith had previously produced and directed Biograph's The Rose of Kentucky, which showed the Ku Klux Klan as villainous--a sharp contrast to this film, made four years later, in which the KKK was portrayed in a favorable light.
Lillian Gish went to her grave denying that this film was racist, despite ongoing protests that it glorified the Ku Klux Klan and portrayed black people as unintelligent, ignorant brutes.
Generally considered to mark the birth of modern American cinema.
This film is widely credited for reviving the long-dead Ku Klux Klan. The organization staged its "rebirth" in Stone Mountain, Georgia, the same year that this movie was released.
The earliest feature-length film listed in '1001 Movies You Must See Before You Die', edited by Steven Jay Schneider.
Goofs
Anachronisms
Car tire tracks are visible in the KKK segment.
Continuity
The position of the window in the small cabin changes.
Errors in geography
The South Carolina coastline does not have bluffs overlooking the ocean.
Filming Locations
Big Bear Lake, Big Bear Valley, San Bernardino National Forest, California, USA
Big Bear Valley, San Bernardino National Forest, California, USA
Burbank, California, USA
Calexico, California, USA
Del Monte, California, USA
Fine Arts Studios - 4516 Sunset Blvd., Hollywood, Los Angeles, California, USA
Forest Lawn Drive, Burbank, California, USA
Forest Lawn Hollywood Hills Cemetery - 6300 Forest Lawn Drive, Burbank, California, USA
Fullerton, California, USA
Los Angeles, California, USA
Ojai, California, USA
San Bernardino National Forest, California, USA
San Fernando Valley, Los Angeles, California, USA
(Battle of Petersburg)
Whittier, California, USA
