There has been a tendency in modern film scholarship to view the narrative form of motion pictures as a development of an overall production system. Although narrative film was and continues to be strongly influenced by a combination of economic, technological, and social factors, it also owes a great deal to the individual artists who viewed film as a medium of personal expression. Chief among these innovators was D.W. Griffith. It is true that Griffith’s self-cultivated reputation as a Romantic artist—“the father of film technique,” “the man who invented Hollywood,” “the Shakespeare of the screen,” and the like—is somewhat overblown. It is also true that by 1908 film narrative had already been systematically organized to accommodate the material conditions of production. Griffith’s work nevertheless transformed that system from its primitive to its classical mode. He was the first filmmaker to realize that the motion-picture medium, properly vested with technical vitality and seriousness of theme, could exercise enormous persuasive power over an audience, or even a nation, without recourse to print or human speech.
Griffith began his film career in late 1907 as an actor. He was cast as the lead in the Edison Company’s Rescued from an Eagle’s Nest (1907) and also appeared in many Biograph films. He had already attempted to make a living as a stage actor and a playwright without much success, and his real goal in approaching the film companies seems to have been to sell them scripts. In June 1908Biograph gave him an opportunity to replace its ailing director, George (“Old Man”) McCutcheon, on the chase film The Adventures of Dollie. With the advice of the company’s two cameramen, G.W. (“Billy”) Bitzer (who would become Griffith’s personal cinematographer for much of his career) and Arthur Marvin (who actually shot the film), Griffith turned in a fresh and exciting film. His work earned him a full-time director’s contract with Biograph, for whom he directed more than 450 one- and two-reel films over the next five years.
In the Biograph films, Griffith experimented with all the narrative techniques he would later use in the epics The Birth of a Nation (1915) and Intolerance (1916)—techniques that helped to formulate and stabilize Hollywood’s classical narrative style. A few of these techniques were already in use when Griffith started; he simply refined them. Others were innovations Griffith devised to solve practical problems in the course of production. Still others resulted from his conscious analogy between film and literary narrative, chiefly Victorian novels and plays. In all cases, however, Griffith brought to the practice of filmmaking a seriousness of purpose and an intensity of vision that, combined with his intuitive mastery of film technique, made him the first great artist of the cinema.
Griffith’s first experiments were in the field of editing and involved varying the standard distance between the audience and the screen. In Greaser’s Gauntlet, made one month after Dollie, he first used a cut-in from a long shot to a full shot to heighten the emotional intensity of a scene. In an elaboration of this practice, he was soon taking shots from multiple camera setups—long shots, full shots, medium shots, close shots, and, ultimately, close-ups—and combining their separate perspectives into single dramatic scenes. By October 1908 Griffith was practicing parallel editing between the dual narratives of After Many Years, and the following year he extended the technique to the representation of three simultaneous actions in The Lonely Villa, cutting rapidly back and forth between a band of robbers breaking into a suburban villa, a woman and her children barricaded within, and the husband rushing from town to the rescue. This type of crosscutting, or intercutting, came to be known as the “Griffith last-minute rescue” and was employed as a basic structural principle in both The Birth of a Nation and Intolerance. It not only employed the rapid alternation of shots but also called for the shots themselves to be held for shorter and shorter durations as the parallel lines of action converged; in its ability to create the illusion of simultaneous actions, the intercut chase sequence prefigured Soviet theories of montage by at least a decade, and it remains a basic component of narrative film form to this day.
Another area of experiment for Griffith involved camera movement and placement, most of which had been purely functional before him. When Biograph started sending his production unit to southern California in 1910, Griffith began to practice panoramic panning shots not only to provide visual information but also to engage his audience in the total environment of his films. Later he would prominently employ the tracking, or traveling, shot, in which the camera—and therefore the audience—participates in the dramatic action by moving with it. In California, Griffith discovered that camera angle could be used to comment upon the content of a shot or to heighten its dramatic emphasis in a way that the conventionally mandated head-on medium shot could not; and, at a time when convention dictated the flat and uniform illumination of every element in a scene, he pioneered the use of expressive lighting to create mood and atmosphere. Like so many of the other devices he brought into general use, these had all been employed by earlier directors, but Griffith was the first to practice them with the care of an artist and to rationalize them within the overall structure of his films.
Griffith’s one-reelers grew increasingly complex between 1911 and 1912, and he began to realize that only a longer and more expansive format could contain his vision. At first he made such two-reel films as Enoch Arden (1911), Man’s Genesis (1912), The Massacre (1912), and The Mothering Heart (1913), but these went virtually unnoticed by a public enthralled with such recent features from Europe asQueen Elizabeth and Quo Vadis? Finally Griffith determined to make an epic himself, based on the story of Judith and Holofernes from the Apocrypha. The result was the four-reel Judith of Bethulia(1913), filmed secretly on a 12-square-mile (31-square-km) set in Chatsworth Park, Calif. In addition to its structurally complicated narrative, Judith contained massive sets and battle scenes unlike anything yet attempted in American film. It cost twice the amount Biograph had allocated for its budget. Company officials, stunned at Griffith’s audacity and extravagance, tried to relieve the director of his creative responsibilities by promoting him to studio production chief. Griffith quit instead, publishing a full-page advertisement in The New York Dramatic Mirror (Dec. 3, 1913), in which he took credit for all the Biograph films he had made from The Adventures of Dollie through Judith, as well as for the narrative innovations they contained. He then accepted an offer from Harry E. Aitken, the president of the recently formed Mutual Film Corporation, to head the feature production company Reliance-Majestic; he took Bitzer and most of his Biograph stock company with him.
As part of his new contract, Griffith was allowed to make two independent features per year, and for his first project he chose to adapt The Clansman, a novel about the American Civil War andReconstruction by the Southern clergyman Thomas Dixon, Jr. (As a Kentuckian whose father had served as a Confederate officer, Griffith was deeply sympathetic to the material, which was highly sensational in its depiction of Reconstruction as a period in which mulatto carpetbaggers and their black henchmen had destroyed the social fabric of the South and given birth to a heroic Ku Klux Klan.) Shooting on the film began in secrecy in late 1914. Although a script existed, Griffith kept most of the continuity in his head—a remarkable feat considering that the completed film contained 1,544 separate shots at a time when the most elaborate of foreign spectacles boasted fewer than 100. When the film opened in March 1915, retitled The Birth of a Nation, it was immediately pronounced “epoch-making” and recognized as a remarkable artistic achievement. The complexity of its narrative and the epic sweep of its subject were unprecedented, but so too were its controversial manipulations of audience response, especially its blatant appeals to racism. Despite its brilliantly conceived battle sequences, its tender domestic scenes, and its dignified historical reconstructions, the film provoked fear and disgust with its shocking images of miscegenation and racial violence. As the film’s popularity swept the nation, denunciations followed, and many who had originally praised it, such as President Woodrow Wilson, were forced to recant. Ultimately, after screenings of The Birth of a Nation had caused riots in several cities, it was banned in eight Northern and Midwestern states. (First Amendment protection was not extended to motion pictures in the United States until 1952.) Such measures, however, did not prevent The Birth of a Nation from becoming the single most popular film in history throughout much of the 20th century; it achieved national distribution in the year of its release and was seen by nearly three million people.
Taking the lead in protesting against The Birth of a Nation, the National Association for the Advancement of Colored People (NAACP), which had been founded six years prior to the film’s release, used the struggle as an organizing tool. The powerful impact of Griffith’s film meanwhile persuaded many black leaders that racial stereotyping in motion pictures could be more effectively challenged if African American filmmakers produced works more accurately and fairly depicting black life. For their first effort, The Birth of a Race (1919), black sponsors sought collaboration with white producers but lost control of the project, which was judged a failure. Other aspiring black filmmakers took note of the film’s problems and began to make their own works independently. TheLincoln Motion Picture Company (run by George P. Johnson and Noble Johnson) and the writer and entrepreneur Oscar Micheaux were among those who launched what became known as the genre of “race pictures,” produced in and for the black community.
Although it is difficult to believe that the racism of The Birth of a Nation was unconscious, as some have claimed, it is easy to imagine that Griffith had not anticipated the power of his own images. He seems to have been genuinely stunned by the hostile public reaction to his masterpiece, and he fought back by publishing a pamphlet entitled The Rise and Fall of Free Speech in America (1915), which vilified the practice of censorship and especially intolerance. At the height of his notoriety and fame, Griffith decided to produce a spectacular cinematic polemic against what he saw as a flaw in human character that had endangered civilization throughout history. The result was the massive epicIntolerance (1916), which interweaves stories of martyrdom from four separate historical periods. The film was conceived on a scale so monumental that it dwarfed all its predecessors. Crosscutting freely between a contemporary tale of courtroom injustice, the fall of ancient Babylon to Cyrus the Great in 539 bc, the Massacre of St. Bartholomew’s Day in 16th-century France, and the Crucifixion of Christ, Griffith created an editing structure so abstract that contemporary audiences could not understand it. Even the extravagant sets and exciting battle sequences could not save Intolerance at the box office. To reduce his losses, Griffith withdrew the film from distribution after 22 weeks; he subsequently cut into the negative and released the modern and the Babylonian stories as two separate features, The Mother and the Law and The Fall of Babylon, in 1919. (Although ignored by Americans, Intolerance was both popular and vastly influential in the Soviet Union, where filmmakers minutely analyzed Griffith’s editing style and techniques.)
It would be fair to say that Griffith’s career as an innovator of film form ended with Intolerance, but his career as a film artist certainly did not. He went on to direct another 26 features between 1916 and 1931, chief among them the World War I anti-German propaganda epic (financed in part by the British government) Hearts of the World (1918), the subtle and lyrical Broken Blossoms (1919), and the rousing melodrama Way Down East (1920). The financial success of the latter made it possible for Griffith to establish his own studio at Mamaroneck, N.Y., where he produced the epics Orphans of the Storm (1921) and America (1924), which focused on the French and American revolutions, respectively; both lost money. Griffith’s next feature was the independent semidocumentary Isn’t Life Wonderful?(1925), which was shot on location in Germany and is thought to have influenced both the “street” films of the German director G.W. Pabst and the post-World War II Italian Neorealist movement.
Griffith’s last films, with the exception of The Struggle (1931), were all made for other producers. Not one could be called a success, although his first sound film, Abraham Lincoln (1930), was recognized as an effective essay in the new medium. The critical and financial failure of The Struggle, however, a version of Émile Zola’s L’Assommoir (The Drunkard), forced Griffith to retire.
It might be said of Griffith that, like Georges Méliès and Edwin S. Porter, he outlived his genius, but that is not true. Griffith was fundamentally a 19th-century man who became one of the 20th-century’s greatest artists. Transcending personal defects of vision, judgment, and taste, he developed the narrative language of film. Later filmmakers adapted his techniques and structures to new themes and styles, while for Griffith his innovations were inextricably linked to a social vision that became obsolete while he was still in the prime of his working life.