Birth of a Nation

Birth of a Nation innovations:

Its pioneering technical work, often the work of Griffith's under-rated cameraman Billy Bitzer, includes many techniques that are now standard features of films, but first used in this film. Griffith brought all of his experience and techniques to this film from his earliest short films at Biograph, including the following:

the use of ornate title cards
special use of subtitles graphically verbalizing imagery
its own original musical score written for an orchestra
the introduction of night photography (using magnesium flares)
the use of outdoor natural landscapes as backgrounds
the definitive usage of the still-shot
elaborate costuming to achieve historical authenticity and accuracy
many scenes innovatively filmed from many different and multiple angles
the technique of the camera "iris" effect (expanding or contracting circular masks to either reveal and open up a scene, or close down and conceal a part of an image)
the use of parallel action and editing in a sequence (Gus' attempted rape of Flora, and the KKK rescues of Elsie from Lynch and of Ben's sister Margaret)
extensive use of color tinting for dramatic or psychological effect in sequences
moving, traveling or "panning" camera tracking shots
the effective use of total-screen close-ups to reveal intimate expressions
beautifully crafted, intimate family exchanges
the use of vignettes seen in "balloons" or "iris-shots" in one portion of a darkened screen
the use of fade-outs and cameo-profiles (a medium closeup in front of a blurry background)
the use of lap dissolves to blend or switch from one image to another
high-angle shots and the abundant use of panoramic long shots
the dramatization of history in a moving story - an example of an early spectacle or epic film with historical costuming and many historical references (e.g., Mathew Brady's Civil War photographs)
impressive, splendidly-staged battle scenes with hundreds of extras (made to appear as thousands)
extensive cross-cutting between two scenes to create a montage-effect and generate excitement and suspense (e.g., the scene of the gathering of the Klan)
expert story-telling, with the cumulative building of the film to a dramatic climax

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Trivia for The Birth of a Nation (1915)

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Director D.W. Griffith visualized the whole film in his mind and did not write out a script or keep written notes.
Premiered in Los Angeles with the title "The Clansman", after the novel on which it was based.
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 (1916). 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, played 13 roles in the film in addition to his main role as Abraham Lincoln.
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.
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" (1951).
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 (1915), 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."
Debut of Monte Blue, Charles King.
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 (1916), 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 (1915), 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 The Birth of a Nation (1915) was released and criticized as being racist, D.W. Griffith was very hurt. He decided to make Intolerance: Love's Struggle Throughout the Ages (1916) as a follow-up, to show how damaging and dangerous people's intolerance can be.
After viewing The Birth of a Nation (1915) in the White House, President Woodrow Wilson remarked that it was "like writing history with lightning."
Ironically, the release of The Birth of a Nation (1915) inspired many African-Americans to start making their own films in an attempt to counter the film's depiction of them and to offer positive alternative images and stories of the African-American people.
The NAACP attempted to have The Birth of a Nation (1915) banned. After that effort failed, they 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 films success is what financed Mayer, Aitken and Lasky into forming their own studios in Hollywood, eventually becoming MGM, and Paramount among others.
Ironically, Griffith produced and directed the Biograph Company film The Rose of Kentucky (1911), which showed the Ku Klux Klan as villainous, a sharp contrast to The Birth of a Nation (1915), made 4 years later, in which the KKK was portrayed in a favorable light.
Lillian Gish went to her grave denying that The Birth of a Nation (1915) was racist, despite ongoing protests that it was a glorification of the Ku Klux Klan.
Generally considered to mark the birth of modern American cinema.