The Birth of a Nation (1915)

User Rating:

7.1/10   

Director:

D.W. Griffith

Writers:

Thomas F. Dixon Jr. (novel)
Thomas F. Dixon Jr. (play) ...
(more)

Release Date:

3 March 1915 (USA)

Genre:

Drama | History | Romance | War | Western

Tagline:

Mighty Spectacle

Plot:

The Civil War divides friends and destroys families, but that's nothing compared to the anarchy in the black-ruled South after the war.

Plot Keywords:

Civil War | Lincoln Assassination | Ku Klux Klan | Assassination | Public Domain

Awards:

1 win

Cast

Lillian Gish	...	Elsie Stoneman
Mae Marsh	...	Flora Cameron
Henry B. Walthall	...	Col. Ben Cameron (as Henry Walthall)
Miriam Cooper	...	Margaret Cameron
Mary Alden	...	Lydia Brown
Ralph Lewis	...	Austin Stoneman
George Siegmann	...	Silas Lynch (as George Seigmann)
Walter Long	...	Gus
Robert Harron	...	Tod Stoneman
Wallace Reid	...	Jeff (blacksmith) (as Wallace Reed)
Joseph Henabery	...	Abraham Lincoln / 13 other bits (as Jos. Henabery)
Elmer Clifton	...	Phil Stoneman
Josephine Crowell	...	Mrs. Cameron
Spottiswoode Aitken	...	Dr. Cameron
George Beranger	...	Wade Cameron (as J.A. Beringer)
Maxfield Stanley	...	Duke Cameron
Jennie Lee	...	Mammy
Donald Crisp	...	Gen. Ulysses S. Grant
Howard Gaye	...	Gen. Robert E. Lee
rest of cast listed alphabetically:
Tom Wilson	...	Stoneman's servant (as Thomas Wilson)
Monte Blue	...	Bit Role (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 (uncredited)
William E. Cassidy	...	Bit Role (uncredited)
Dark Cloud	...	A general (uncredited)
Lenore Cooper	...	Elsie's maid (uncredited)
Sam De Grasse	...	Sen. Sumner (uncredited)
William De Vaull	...	Jake (uncredited)
Charles Eagle Eye	...	Man who falls from roof (uncredited)
John Ford	...	Klansman on horse holding up hood with hand (uncredited)
Alberta Franklin	...	(uncredited)
William Freeman	...	The sentry (uncredited)
Gibson Gowland	...	Bit Role (uncredited)
Olga Grey	...	Laura Keene (uncredited)
D.W. Griffith	...	Himself (1931 reissue version) (uncredited)
Fred Hamer	...	(uncredited)
Russell Hicks	...	(uncredited)
Walter Huston	...	Himself (1931 reissue version) (uncredited)
Charles King	...	Undetermined Role (uncredited) (unconfirmed)
Alberta Lee	...	Mrs. Lincoln (uncredited)
Elmo Lincoln	...	Blacksmith (uncredited)
Donna Montran	...	Belles of 1861 (uncredited)
Eugene Pallette	...	Union soldier (uncredited)
Vester Pegg	...	(uncredited)
Alma Rubens	...	Belles of 1861 (uncredited)
Allan Sears	...	Klansman (uncredited)
Charles Stevens	...	Volunteer (uncredited)
Madame Sul-Te-Wan	...	Black woman (Dr. Cameron's taunter) (uncredited)
Raoul Walsh	...	John Wilkes Booth (uncredited)
Jules White	...	(uncredited)
Violet Wilkey	...	Flora as a child (uncredited)
Mary Wynn	...	(uncredited)

Directed by
D.W. Griffith

Writing credits
Thomas F. Dixon Jr.		(novel "The Clansman: An Historical Romance of the Ku Klux Klan")
Thomas F. Dixon Jr.		play "The Clansman" and
Thomas F. Dixon Jr.		novel "The Leopard's Spots"
D.W. Griffith		(writer) &
Frank E. Woods		(writer)

Produced by
D.W. Griffith	....	producer
H.E. Aitken	....	executive producer (uncredited)

Original Music by
Joseph Carl Breil
D.W. Griffith

Cinematography by
G.W. Bitzer

Film Editing by
D.W. Griffith
Joseph Henabery
James Smith
Rose Smith
Raoul Walsh

Costume Design by
Robert Goldstein		(uncredited)
Clare West		(uncredited)

Second Unit Director or Assistant Director
Christy Cabanne	....	assistant director (uncredited)
Elmer Clifton	....	assistant director (uncredited)
Jack Conway	....	assistant director (uncredited)
Donald Crisp	....	assistant director (uncredited)
Howard Gaye	....	assistant director (uncredited)
Fred Hamer	....	assistant director (uncredited)
Robert Harron	....	assistant director (uncredited)
Joseph Henabery	....	assistant director (uncredited)
Thomas E. O'Brien	....	assistant director (uncredited)
George Siegmann	....	chief assistant director (uncredited)
Herbert Sutch	....	assistant director (uncredited)
W.S. Van Dyke	....	assistant director (uncredited)
Raoul Walsh	....	assistant director (uncredited)
Henry B. Walthall	....	assistant director (uncredited)
Tom Wilson	....	assistant director (uncredited)

Art Department
Ralph M. DeLacy	....	property master (uncredited)
Shorty English	....	carpenter (uncredited)
Jim Newman	....	assistant carpenter (uncredited)
Cash Shockey	....	set painter (uncredited)
Joseph Stringer	....	set builder (uncredited)
Hal Sullivan	....	assistant property master (uncredited)
Frank Wortman	....	set designer (uncredited)

Special Effects by
Walter Hoffman	....	special effects supervisor (uncredited)
'Fireworks' Wilson	....	special effects (uncredited)

Stunts
Monte Blue	....	stunts (uncredited)
Charles Eagle Eye	....	stunts (uncredited)
Leo Nomis	....	stunts (uncredited)

Camera and Electrical Department
Karl Brown	....	camera operator (uncredited)
Frank B. Good	....	assistant camera (uncredited)

Costume and Wardrobe Department
Robert Goldstein	....	costumer (uncredited)

Music Department
Harry Berken	....	musician: trumpeter
Carli Elinor	....	conductor (uncredited)

Other crew
Jim Kidd	....	security officer (uncredited)
Abe Scholtz	....	laboratory technician (uncredited)

Production Companies

• David W. Griffith Corp.
• Epoch Producing Corporation

Distributors

• Epoch Producing Corporation (1915) (USA) (theatrical) (original release)
• Joseph Brenner Associates (1970) (USA) (theatrical) (re-release)
• Lumivision (1991) (USA) (video) (laserdisc)
• Republic Pictures Home Video (1991) (USA) (video) (laserdisc)
• Image Entertainment (1994) (USA) (video) (laserdisc)
• Hollywood Classics (1997) (USA) (VHS)
• Image Entertainment (1998) (USA) (DVD)
• Specialty Video (1998) (USA) (VHS)
• Eureka Entertainment (2000) (UK) (DVD)
• SlingShot Entertainment (2000) (USA) (DVD)
• Divisa Home Video (2002) (Spain) (DVD)
• Image Entertainment (2002) (USA) (DVD)
• Kino Video (2002) (USA) (DVD)
• Kino Video (2002) (USA) (VHS)
• Madacy Entertainment (2002) (USA) (DVD)
• Delta Expedition (2004) (USA) (DVD)
• Reel Media International (2004) (worldwide) (VHS)
• Teakwood Video (2004) (USA) (DVD)
• Ermitage Cinema (2005) (Italy) (DVD)
• 20th Century Fox Home Entertainment (2006) (Italy) (DVD)
• SBP (2006) (Argentina) (VHS)
• Reel Media International (2007) (worldwide) (all media)
• Allied Artists Classic Library (????) (USA) (VHS)
• Continental Home Vídeo (????) (Brazil) (VHS)
• Critics' Choice Video (????) (USA) (VHS)
• Facets Multimedia Distribution (????) (USA) (VHS)
• Movies Unlimited (????) (USA) (VHS)
• Republic Pictures Home Video (????) (USA) (DVD)

Other Companies

• Goldstein and Company  costumes
• Western Costume Company  wardrobe

Also Known As:

In the Clutches of the Ku Klux Klan (USA) (cut version)
The Birth of the Nation; Or The Clansman (second copyright title)
The Clansman (USA) (Los Angeles première title)

Runtime:

190 min (16 fps) | USA:125 min (video version) | USA:187 min (DVD) | Argentina:165 min

Country:

USA

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Certification:

Canada:PG (Manitoba) | Argentina:Atp | South Korea:15 (2002) | Australia:PG | UK:15 (video rating) | UK:U (original rating) | Sweden:15 | Canada:G (Quebec)

Filming Locations:

Big Bear Lake, California, USA

Company:

David W. Griffith Corp.

Trivia:

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.

Goofs:

Anachronisms: Car tire tracks are visible in the KKK segment.

Quotes:

Austin Stoneman: [to Silas Lynch, "mulatto leader of the blacks"] Don't scrape to me. You are the equal of any man here.

Movie Connections:

Featured in Golden Saddles, Silver Spurs (2000) (TV)

Simple in appearance, but speaks volumes

This is a film which every movie buff really does need to see, for two reasons. 1) It shows how far the movie making process has come, and gives us all a way to truly appreciate some of the other early films, and how far the moviemaking technology advanced between 1915 and the 1930's. and 2) It also allows us the chance to appreciate just how conflicted our society has always been, not just today. Many of the other reviewers have labeled this film as racist garbage, but it truly does represent one group's view of society at the time, and gives us a great way to understand some of the driving factors behind the race relations problems we would have later. In particular, during the Civil Rights battles that would take place during the 1950's and 60's in the deep South.

The film is the story of two families, one Northern and one Southern, and how their lives would be intertwined during and after the Civil War. It focuses on two sons who fought in the war, and the effects their fighting would have on their families, mostly focusing on how one son would go on to be the founder of what we now know as the Klu Klux Klan. What I found most interesting is that a group we now speak of in such evil tones are represented in the movie as the defenders of all that is good and holy. When put in it's historical context and we realize that President Woodrow Wilson talked about the movie in such high praise, it gives us a real appreciation for how the world we live in has changed.

In particular, though, pay attention to the battle scene in the movie. What seems to us to be extremely simple special effects, were the highest technology available at the day, and viewed by the public as an incredible work of storytelling. When taken in context, you can only be impressed by Griffith's storytelling abilities, no matter what you thought of the story.

While the movie is no great work by today's standards, and I actually found it very hard to watch considering it's simple style as compared to today's movies, I think this is a movie you definitely must see. It gives one a real appreciation for how far movie-making technology has advanced, and makes us realize just how much different our society is now than we were just one century ago.