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Lillian Gish
m
"liitoleninn"
The
Shadow Sta&e
A Department of Photoplay Review
By Julian Johnson
TIIK metropolitan critics who preceded me in learned discourse upon Mr. Griffith's sun-play. '"Intolerance." shot away all the superlatives which were our common property. Tints deprived of the communal ammunition I must lav about me with a week-day set of words and present facts garnished neither with rhapsody nor raillery.
'"Intolerance" is a collective story of the penalties paid through the centuries to those "who do not believe as Ave believe." It occupied its maker's entire attention for at least a year and a half. Both the notion and the generalship are his. "Intolerance" is more than the world's biggest photoplay. In size and scope it is the biggest art-work of any description in a decade.
Here is a joy-ride through history ; a Cook's tour of the ages ; a college education crammed into a night. It is the most incredible experiment in story-telling that has ever been tried. Its uniqueness lies not in a single yarn, but in the way its whole skein of yarns is plaited.
Its distinct periods are four : Babylon,
The Harem Favorite Attarea
to Prince Belshazzar, as he
goes forth to fight :
"My Lord, like white pearls I shall keep my tears in an ark of silver for your return. I bite my thumb! I strike my girdle! If you return not, I go to the death halls of Allat!"
"Intolerance,"
Babylonian Episode.
at the end of the regency of Prince Belshazzar; Judea, in the time of Christ ; France under the inquisitorial high tide of St. Bartholomew's ; and the American Now, with the intolerances of capital, labor, and. the courts. None of these tales runs straightaway. You stand in medieval France and slip on the banana-peel of retrogression to Chaldea. You are sure America has you — a wink has aviated you back to Palestine. It is much like listening to a quartette of excellent elocutionists simultaneously reading novels by Arnold Bennett, Yictor Hugo. Nathaniel Hawthorne and F>linor Glyn.
Any of these carnivorous legends would fang you emotionally if you were left long enough in its cage. But just as it is about to bite, out you come, slam goes the door, and you are thrust among the raveners of another century. There has never been such scenery, anywhere, as the edifices reared for the Babylonian episode.
Pictorially, the greatest filmings are the Judean scenes, perfect in composition, ideal in lighting, every one in effect a Tissot
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