David Wark Griffith (January 22, 1875 – July 23, 1948) was an American film director. Considered one of the most influential figures in the history of the motion picture,[2] he pioneered many aspects offilm editing[3] and expanded the art of thenarrative film.[4]
To modern audiences, Griffith is known primarily for directing the 1915 filmThe Birth of a Nation. One of the most financially successful films of all time and considered a landmark by film historians, it has attracted much controversy for its degrading portrayals of African Americans, its glorification of theKu Klux Klan, and support for theConfederacy. The film led to riots in several major cities all over the United States and theNAACP attempted to have it banned. Griffith made his next filmIntolerance (1916) as an answer to critics, who he felt unfairly maligned his work.
Together withCharlie Chaplin,Mary Pickford, andDouglas Fairbanks, Griffith founded the studioUnited Artists in 1919 with the goal of enabling actors and directors to make films on their own terms, as opposed to the terms of commercial studios. Several of Griffith's later films were successful, includingBroken Blossoms (1919),Way Down East (1920), andOrphans of the Storm (1921), but the high costs he incurred for production and promotion often led to commercial failure. He had made roughly 500 films by the time ofThe Struggle (1931), his final feature, and all but three were completely silent.
Griffith was born on January 22, 1875,[5] on a farm inOldham County, Kentucky, the son of Jacob Wark "Roaring Jake" Griffith,[6] aConfederate Army colonel in theAmerican Civil War who was elected as a Kentucky state legislator, and Mary Perkins (née Oglesby).[5] Griffith was raised as aMethodist,[7] and he attended a one-room schoolhouse, where he was taught by his older sister Mattie. His father died when he was 10, and the family struggled with poverty.
When Griffith was 14, his mother abandoned the farm and moved the family toLouisville, Kentucky; there she opened a boarding house, which was unsuccessful. Griffith then left high school to help support the family, taking a job in a dry goods store and later in a bookstore. He began his creative career as an actor in touring companies. Meanwhile, he was learning how to become a playwright, but he had little success. Only one of his plays was accepted for a performance.[8] He traveled toNew York City in 1907 in an attempt to sell a script toEdison Studios producerEdwin Porter;[8] although Porter rejected the script, he gave Griffith an acting part inRescued from an Eagle's Nest instead.[8] As a result of this experience, Griffith decided to try his luck as an actor, and he appeared in many films as an extra.[9]
Griffith on the set ofThe Birth of a Nation (1915) with actorHenry B. Walthall and others
In 1908, Griffith accepted a role as a stage extra inProfessional Jealousy for the American Mutoscope andBiograph Company, where he met cameramanBilly Bitzer.[10] In 1908, Biograph's main directorWallace McCutcheon Sr. fell ill, and his son Wallace McCutcheon Jr. took his place.[11] McCutcheon Jr. did not bring the studio success;[10] Biograph co-founder Harry Marvin then gave Griffith the position,[10] and he made the shortThe Adventures of Dollie. He directed a total of 48 shorts for the company that year.
Among the films he directed in 1909 wasThe Cricket on the Hearth, an adaptation ofCharles Dickens' novel. Showing the influence of Dickens on his own film narrative, Griffith employed the technique ofcross-cutting—where two stories run alongside each other, as seen in Dickens' novels such asOliver Twist.[12] When criticized by a cameraman for doing this technique in a later film, Griffith was said to have replied "Well, doesn't Dickens write that way?".[12]
His shortIn Old California (1910) was the first film shot in Hollywood, California. Four years later, he produced and directed his first feature filmJudith of Bethulia (1914), one of the early films to be produced in the U.S. Biograph believed that longer features were not viable at this point. According toLillian Gish, the company thought that "a movie that long would hurt [the audience's] eyes".[13]
Left to right: Griffith, cameraman Billy Bitzer (behindPathé camera),Dorothy Gish (watching from behind Bitzer),Karl Brown (keeping script) andMiriam Cooper (in profile) in a production still forIntolerance (1916)
Griffith left Biograph because of company resistance to his goals and his cost overruns on the film. He took his company of actors with him and joined theMutual Film Corporation. There he co-producedThe Life of General Villa, a silent biographical-action movie starringPancho Villa as himself, shot on location in Mexico during a civil war. He formed a studio withMajestic Studios managerHarry Aitken,[14] which became known asReliance-Majestic Studios and later was renamed Fine Arts Studios.[15] His new production company became an autonomous production unit partner in theTriangle Film Corporation along withThomas H. Ince andKeystone Studios'Mack Sennett. The Triangle Film Corporation was headed by Aitken, who was released from the Mutual Film Corporation,[14] and his brother Roy.
The NAACP attempted to stop showings of the film. This ban was successful in some cities, but nonetheless it was shown widely and became the most successful box-office attraction of its time. It is considered among the first "blockbuster" motion pictures, and it broke all box-office records that had been established until then. "They lost track of the money it made", Lillian Gish remarked in aKevin Brownlow interview.[19]
The first million-dollar partners: Fairbanks, Pickford, Chaplin and GriffithIntolerance (1916), by Griffith
Audiences in some major northern cities rioted over the film's racial content and the violence.[20] Griffith's indignation at efforts to censor or ban the film motivated him the following year to produceIntolerance, in which he portrayed the effects of intolerance in four different historical periods: theFall of Babylon; theCrucifixion of Jesus; the events surrounding theSt. Bartholomew's Day massacre (during religious persecution of FrenchHuguenots); and a modern story.Intolerance was not a financial success; it did not bring in enough profits to cover the lavish road show that accompanied it.[21] Griffith put a huge budget into the film's production that could not be recovered in its box office.[22] He mostly financedIntolerance himself, which contributed to his financial ruin for the rest of his life.[23]
"Belshazzar's feast", one of the massive film sets inIntolerance (1916)
Although United Artists survived as a company, Griffith's association with it was short-lived. While some of his later films did well at the box office, commercial success often eluded him. Griffith features from this period includeBroken Blossoms (1919),Way Down East (1920),Orphans of the Storm (1921),Dream Street (1921),One Exciting Night (1922),The White Rose (1923),America (1924) andIsn't Life Wonderful (1924). Of these, the first three were successes at the box office.[27] Griffith was forced to leave United Artists afterIsn't Life Wonderful (1924) failed at the box office.
United Artists founders Griffith, Pickford, Chaplin and Fairbanks sign their contract for the cameras in 1919.
He madeLady of the Pavements (1929), a part sound film, and only two full-sound films:Abraham Lincoln (1930) andThe Struggle (1931). Neither was successful, and afterThe Struggle, he never made another film.
In 1936, directorWoody Van Dyke, who had worked as Griffith's apprentice onIntolerance, asked Griffith to help him shoot the famous earthquake sequence forSan Francisco, but Griffith was not given any film credit. StarringClark Gable,Jeanette MacDonald andSpencer Tracy, it was the top-grossing film of the year.[28]
In 1939, the producerHal Roach hired Griffith to produceOf Mice and Men (1939) andOne Million B.C. (1940). He wrote to Griffith: "I need help from the production side to select the proper writers, cast, et cetera, and to help me generally in the supervision of these pictures."[29]
Although Griffith eventually disagreed with Roach over the production and departed, Roach later insisted that some of the scenes in the completed film were directed by Griffith. This movie was the final production in which Griffith was involved. However, cast members' accounts recall Griffith directing only the screen tests and costume tests. When Roach advertised the film in late 1939 with Griffith listed as producer, Griffith asked that his name be removed.[30]
Griffith was for decades held in awe by many members of the film industry. He was presented with an honoraryOscar by theAcademy of Motion Picture Arts and Sciences in 1936.[31] In 1946, he made an impromptu visit to the film location ofDavid O. Selznick's epic westernDuel in the Sun, where some of his veteran actors—Lillian Gish,Lionel Barrymore andHarry Carey—were cast members. Gish and Barrymore found their mentor's presence distracting, and they became self-conscious; in response, Griffith hid behind the scenery when the two were filming their scenes.[32]
On the morning of July 23, 1948, Griffith was discovered unconscious in the lobby at theKnickerbocker Hotel in Los Angeles, where he had been living alone. He died of acerebral hemorrhage on the way to a Hollywood hospital.[24] A public memorial service was held in his honor at theHollywood Masonic Temple. He is buried at Mount Tabor Methodist Church Graveyard in Centerfield, Kentucky.[33] In 1950, TheDirectors Guild of America provided a stone and bronze monument for his grave site.[34]
Griffith has a controversial legacy. Despite criticism, he was a widely celebrated and respected public figure during his life, and modern film historians continue to recognize him for his contributions to the craft of filmmaking. Nevertheless, many critics during his lifetime, as well as in the decades since his death, have characterized him and his work (most notablyThe Birth of a Nation) as upholding white supremacist ideals. Historians frequently citeThe Birth of a Nation as a major factor inthe KKK's revival in the 20th century, and it remains controversial to this day.
Griffith seems to have been one of the first to understand how certain film techniques could be used to create an expressive language; it gained popular recognition with the release ofThe Birth of a Nation (1915). His early shorts —such as Biograph'sThe Musketeers of Pig Alley (1912), show that Griffith's attention to camera placement and lighting heightened mood and tension. In makingIntolerance, Griffith opened new possibilities for the medium, creating a form that seems to owe more to music than to traditional narrative.[46][47]
In 1953 theDirectors Guild of America (DGA) instituted the D. W. Griffith Award, its highest honor. However, on December 15, 1999, then DGA PresidentJack Shea and the DGA National Board announced that the award would be renamed as the "DGA Lifetime Achievement Award". They stated that, although Griffith was extremely talented, they felt his filmThe Birth of a Nation had "helped foster intolerable racial stereotypes", and that it was thus better not to have the top award in his name.
On February 8, 1960, Griffith was posthumously awarded a star on theHollywood Walk of Fame, which is located at 6535 Hollywood Boulevard.[48]
In 1975, Griffith was honored on a 10-cent postage stamp by the United States.[35]
The 1976 American comedy filmNickelodeon in part pays homage to silent film makers, and includes footage fromThe Birth of a Nation.
D.W. Griffith Middle School in Los Angeles is named after Griffith.[49]
In 2008 theHollywood Heritage Museum hosted a screening of Griffith's early films to commemorate the centennial of his start in film.[50]
On January 22, 2009, the Oldham History Center in La Grange, Kentucky, opened a 15-seat theatre in Griffith's honor. The theatre features a library of available Griffith films.
^Kirsner, Scott (2008).Inventing the movies: Hollywood's epic battle between innovation and the status quo, from Thomas Edison to Steve Jobs (1st ed.). [s.l.]: CinemaTech Books. p. 13.ISBN978-1-4382-0999-9.
^Richard Lewis Ward,A History of the Hal Roach Studios, pp. 109–110. Southern Illinois University, 2005.ISBN0-8093-2637-X. In his tie at Biograph, Griffith had directed two films with prehistoric settings:Man's Genesis (1912) andBrute Force (1914).
^Moss, Marilyn (2011).Raoul Walsh: The True Adventures of Hollywood's Legendary Director. University Press of Kentucky. pp. 181, 242.ISBN978-0-8131-3394-2.
Karl Brown,Adventures with D.W. Griffith (New York: Farrar, Straus and Giroux, 1973)
Karzan Kardozi,100 Years of Cinema, 100 Directors, Vol 2: D. W. Griffith. (Sulaymaniyah: Xazalnus Publication, 2019)
Kirby, Jack Temple (1978). "D.W. Griffith's Racial Portraiture".Phylon.39 (2):118–127.doi:10.2307/274506.JSTOR274506.
Kevin Brownlow,The Parade's Gone By (New York: Alfred A. Knopf, 1968)
Lillian Gish,The Movies, Mr. Griffith and Me (Englewood, NJ: Prentice Hall, 1969)
Petrić, Vlada,D.W. Griffith's A Corner in Wheat: A Critical Analysis (Cambridge, MA: University Film Study Center, 1975)
Richard Schickel,D.W. Griffith: An American Life (New York: Simon & Schuster, 1984)
Robert M. Henderson,D.W. Griffith: His Life and Work (New York: Oxford University Press, 1972)
Robinson, Cedric J. (June 1997). "In the Year 1915: D.W. Griffith and the Whitening of America".Social Identities.3 (2):161–192.doi:10.1080/13504639752041.
Seymour Stern,An Index to the Creative Work of D.W. Griffith (London: The British Film Institute, 1944–47)
William K. Everson,American Silent Film (New York: Oxford University Press, 1978)
