一个国家的诞生 The Birth of a Nation (豆瓣)

编剧: D.W. 格里菲思 (D.W. Griffith) / Frank E. Woods / Thomas F. Dixon Jr.
导演: D.W. 格里菲思 (D.W. Griffith)
主演: Lillian Gish / Mae Marsh / Henry B. Walthall

制片国家/地区: 美国
上映日期: 1918-09-23 >更多

imdb链接: tt0004972

8.4

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剧情简介 · · · · · ·

　　Before 'The Birth of a Nation,' motion pictures were a medium with the potential to be an art. This movie, more than any afore, realized that promise. It's the most important film ever made; it's the birth of an art. Alas, it's also racist.
　　Apparently, director D.W. Griffith was ignorant of his own racism; the controversy surrounding the film is said to have dumfounded the naïf... (展开全部) 　　Before 'The Birth of a Nation,' motion pictures were a medium with the potential to be an art. This movie, more than any afore, realized that promise. It's the most important film ever made; it's the birth of an art. Alas, it's also racist.
　　Apparently, director D.W. Griffith was ignorant of his own racism; the controversy surrounding the film is said to have dumfounded the naïf Griffith. The son of a Confederate soldier, his prepossession for an antebellum South wasn't, if not still, unusual. Histories of the day, including those by would-be US President Woodrow Wilson, supported his perverted depiction of the Ku Klux Klan saving a South pillaged by carpetbaggers, scalawags and encouraged Negroes. The film quotes Wilson's "History of the American People." Thomas Dixon Jr. himself solicited the White House screening where the President famously responded, "It is like writing history with lightening, and my only regret is that it is all so terribly true." Dixon's racist book trilogy and the subsequent play were Griffith's inspiration for 'The Birth of a Nation.'
　　In the film, the American Civil War and Reconstruction disrupt the once friendly relations between the Unionist Stonemans and the Confederate Camerons. The first part of the film is mostly free of controversy; it's idyllic romanticism and melodrama typical of Griffith, absent Dixon. And, the battle scenes are excellent. Explosions, smoke and hundreds of extras fill the action. Future prominent directors Raoul Walsh and Erich von Stroheim assisted the direction. The action shifts between bird's eye views and medium shots, demonstrating vast scope with attention to isolated skirmishes. Including Griffith with 'Judith of Bethulia,' filmmakers had until now failed to realize massive battles with such grandeur. To top it off, cinematographer G.W. "Billy" Bitzer's moving camera shot of the Little Colonel's charge.
　　The second half of the film, when Congressman Austin Stoneman (an obvious characterization of Abolitionist Senator Thaddeus Stevens) and his mulatto protégé Silas Lynch lead the freed slaves into postwar power, is when the racism becomes overt. Blacks are portrayed as childish morons or as easily excitable brutes--harmless enough if put in their place, such as with the condescending "faithful souls." According to Griffith, it's the mulattos that are especially dangerous, because they posses the cunning of a white with the animalism of a black. What they want is to "marry," which means rape, white virginal women. The film is sexist, too. This is most evident in the infamous scene of the Black buck Gus chasing the childlike Mae Marsh through the woods, to a cliff she leaps from to preserve her purity. It's especially offensive because it's so well done, except for the "Little Sister" ludicrously surviving the fall briefly for a last gasp. The photography sets it apart, and the crosscutting intensifies the classic last-minute rescue attempt, as the Little Colonel enters the action.
　　Yet, the Klan rescue is by far the most offensive and concurrently most exciting sequence in the film. Griffith and his editors, headed by James and Rose Smith, crosscut between multiple actions, climaxing with the rescue of Elsie Stoneman from the threat of being raped, the Aryans and faithful souls under siege and the whole of Piedmont under the heel of a black mob. To that date, it's the most advanced, amazing montage and remains impressive to this day. Before, Griffith had found how exciting well-edited suspense could be, with 'The Battle at Elderbush Gulch' and his last-minute rescue flicks, such as 'The Girl and Her Trust.' Moreover, a variation of Wagner's "The Ride of the Valkyries" greatly intensifies the crescendo.
　　The silhouette of Klansmen riding upon a hill, with the sunrise behind; the moving camera shot of the approach; the angled camera positions: Bitzer and Griffith photograph it brilliantly, too. That is, besides the indoor shooting. Theatricality is the film's major cinematic weakness. This is most evident in the missing walls. The narrative structure is also traditional. Griffith would never do otherwise, and it is certainly not unique for 1915. Moreover, filmmakers were beginning to exploit the advantages of controlled filming within studio sets by now, but the open-air sets with natural lighting, as used here, were still prevalent. And, at the least, the sets here are decorated in detail. Furthermore, Bitzer and Griffith were innovative in their beautiful outdoor photography, with camera movement and positioning, emotive tinting, nighttime photography and good use of split-screens and of masking the camera lens.
　　The acting is also theatrical, but Griffith did direct his actors to be subtler in comparison to contemporaneous film acting. Lillian Gish rose to the forefront of this style, largely because of this film, which made her a star. She plays Elsie Stoneman, who has the more prominent of the two romantic relationships in the film with a soldier from the other side; she's the epitome of Griffith's ideal virginal white female. I think there are some especially well-acted moments here for its time. The sequence with Marsh using ermine in attempt to garment her ragged housedress for the homecoming of her brother, and Henry Walthall's slow, moving walk towards the front door of home is especially poignant, showing the destitute of the postwar South.
　　'The Birth of a Nation' is a troublingly racist picture, which is said to have revived the KKK. Nevertheless, its importance in film history and its cinematic merits are immense. There are other impressive works from this time: films by Bauer, Chaplin, Christensen, DeMille, Tourneur and Starewicz. Yet, to say the least about 'The Birth of a Nation,' as far as I've seen, nothing before matches its scale with such filmic innovation.
　　It runs for 12 reels--having cost some $110,000 to make. Its vast popularity also had incalculable effects on movies as an industry; according to Griffith-biographer Richard Schickel, it grossed more than $60 million by 1917. Its influence, not only on cinéma, is enormous. No other film has been as important to the direction of the medium as an industry and an art.　　

豆瓣成员常用的标签(共178个) · · · · · ·

格里菲斯(277) 美国(228) 默片(182) 美国电影(123) D.W.Griffith(111) 经典(105) 1915(62) 历史(61)

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简短评论 · · · · · · ( 全部 113 条 )
我来说两句

2 有用 Octavian 2008-03-22

一部里程碑式的混蛋电影
0 有用 fallwall 2009-07-12

“For her who had learned the stern lesson of honor, we should not grieve that she found sweeter the opal gates of death.”
0 有用安蓝·怪伯嚼 2005-12-08

默片时代
0 有用 Crow 2009-04-09

- 白人至上史诗

一个国家的诞生的影评 · · · · · ·
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先不说【一个国家的诞生】伟大的那点儿事儿
老吴(《烫》2 出来啦～感兴趣的豆我)

格里菲斯（D.W. Griffith）在1915年拍摄的【一个国家的诞生（The Birth of a Nation）】让电影从技术玩物上升到了艺术和盈利层面，所以成为了电影史上的里程碑。怎么说呢，这部三个小时的电影改变了当时电影基本都是短片的局面。电影拥有完整的剧本和丰富的拍摄手段，这使电影的叙事立体且具有美感。在电...... (2回应)

2008-12-03 5/5有用

《一个国家的诞生》——格里菲斯，带着上帝笑容的撒...
品客档案ijazz(文青,愤青离我远点,我不待见你们)

[曾经是影视欣赏课作业] 格里菲斯，一个让人又爱又恨的导演，一个深刻影响电影艺术发展却同时伴随着异议声的导演。本部影片不仅在当时造成了巨大的影响力，同时也影响了后来电影艺术的发展。格里菲斯在本片中使用了同时异空的平行蒙太奇叙述了美国内战时的深交至深的两个家庭，这两个家庭一南一北，一边是北方资本家，一边是南方种植...... (3回应)

2007-05-19 7/9有用

世间本无耻辱柱
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最近两天的成果就是看了这部真诚的、“种族主义”的经典大作，享受了若干次洗脑快感中的一次。真的，看过这个片，颇有种[猿猴星球]的感觉：黑人执掌权柄、横行霸道，白种人要被迫低三下四，文明秩序即将被颠覆，黑云压城……黑人不是野心勃勃，就纯属坏种，最不济的就是一众安心作奴隶的；反之，白种人都富有教养，若不是因为黑人，几乎都是“...... (1回应)

2008-03-23 2/2有用

一个天才的诞生
Sabina

看了《一个国家的诞生》，在那个时代里，这算是一部彻头彻尾的“实验电影”了。格里菲斯他的确是天才。在我眼里他应该算是第一个讲故事者，第一个改变了电影的意义的人。定死的机位，模糊的胶片，有些滑稽的表演，都难以掩盖它成为一个伟大的作品。在影片的进程中，我似乎也感觉到了格里菲斯在成长……直到最后的战争场面，尤其是林肯被刺的那一...... (3回应)

2007-03-28 3/5有用

Its pioneering technical work
Jason

Griffith brought all of his experience and techniques to this film from his earliest short films at Biograph, including the following: 1.the use of ornate t......

2007-12-01

白人的劣根性之‘3K党’的诞生
读书人

在1865年也就是南北战争结束的第一年，也是美国南方黑人获得了解放的第一年。某月某日的一个夜晚，6个曾经参加过南方军队的南方青年，不满对北方联邦军队对自己家乡的军管，他们穿上白色的尖顶斗蓬，夜晚骑上马在大街和人口聚居地飞奔而过！以示不满和抗议。由此一发不可收拾！南方各地纷纷效仿。他们不会想到，他们自己一时的发泻与冲...... (3回应)

2008-04-05

> 更多影评(共11条)

掩面而过
yankea

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2009-01-08

伟大的作品
大作家写作软件

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2008-09-19

平行蒙太奇
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2008-07-08 1/3有用

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致美国电影之父 ——大卫格里菲斯你很孤独，但你保持清醒，倔强地思考着。你用莎士比亚的优雅，去诠释自由和爱。你的才华，令全世界颤动，你让你的民族电影，更自信更金碧辉煌。但你为何固执得疯狂？为何一直走一直走，头也不回......

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