Review - The Birth of a Nation (1915)

D.W. Griffith used several years of experience making dozens of short films about the civil war to construct his 3-hour silent masterpiece, The Birth of a Nation. It follows the ever-changing relationship between two families through the Civil War (they must fight on opposite sides), the assassination of Lincoln, the rebuilding of the South, and the birth of the Klu Klux Klan. It was released to much popularity and controversy in 1915, the 50th anniversary of the end of the Civil War.

Despite its length, the movie is actually very enjoyable. Griffith gives us much to interest the eye: characters amusingly quibbling with each other, a man reaching under his wig to scratch his bald head, a woman playfully shooting an invisible pistol at her departing man. And, the pace is actually quite fast compared to, say, The Last Days of Pompeii (1913). The movie's length is due to its large number of plot points and epic scope, not a languid pace. And anyway, the action really heats up a mere 35 minutes into the film (people shooting each other right and left, fires erupting), and returns frequently enough that boredom is never a concern.

Even someone who hasn't seen a silent film won't be lost by the plot due to the obsessively frequent title cards to explain each scene and setting where the action isn't obvious.

Today's filmmakers could learn many lessons about modern filmmaking from Griffith's classic of nearly a century ago. Because none of the dialogue is heard (and rarely written on title cards), Griffith must develop his characters with behavior and acting alone. For example, at one point, a father picks up his daughter lovingly and shows her a banner that reads, "Conquer we must. Victory or death. For our cause is just." It's a sweet moment that endears the audience (even the 'northerners' of the day) to this loving confederate family. Later, another confederate (Ben) receives a letter from his sister from home that reads: "...I'm just dying, dying to see you! Well, I'm growing up too - they say I'm such a big girl now you wouldn't know me ***** (kisses) - your little big Sis."

In another touching moment that has now become a Hollywood cliche, two friends meet on the battlefield on opposite sides. As one is about to kill the other, they realize who they are fighting and exchange smiles. But, the one already wounded succumbs to death, and the other is shot and falls dead beside him. You really fall in love with the characters without hearing a word they are saying.

In this way, The Birth of a Nation is similar to something I've always wanted to see - a movie told sympathetically from the Nazi side of WWII. Indeed, this idea of telling the story sympathetically from the the Klu Klux Klan's point of view provided much of the controversy of the movie. Also, for a time, the blacks are the 'bad guys' of the story. Not even the message that opened the film could squelch the uproar: "... we have no wish to offend with improprieties or obscenities, but we do demand... the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue - the same liberty that is conceded to... that art to which we owe the Bible and the works of Shakespeare."

In one memorable shot, we begin close on a family huddled in a forest, apparently hiding. We pan right to reveal an epic battle with hundreds of troops and cavalry taking place in the valley right next to them. The panicked mother hugs her children tightly as the sounds of war roar at them.

I've mostly heard people call The Birth of a Nation one of the greatest films of all time for its epic scope, controversy, box office, expense, and filmmaking technique. But now I know it's also one of the most beautifully told and shot stories of the era with well-developed, lovable characters, great action, beautiful scenes, daring subject matter, and artful construction. It's the most enjoyable feature-length silent dramatic film I've seen (not to mention one the greatest films of all time). I absolutely loved it.