Griffith's biggest investment and worst-losing super movie. Parallel montage, the story lines of four different time, space and places are interlaced, and the film length is close to 4 hours. In the era when the film was just starting, it was too advanced and unacceptable. Griffith's narrative approach in this film doesn't seem outdated today, because it has influenced so many later film narratives. The film is divided into four story lines, the labor conflict in the United States in the early 20th century, the religious massacre of Saint Bartholomey in France, the fall of Babylon, and the crucifixion of Jesus Christ. These four lines are intertwined with each other. The stories of different time and space and different places are constantly switched, and the mother of the cradle will always appear in the form of transitions. Among them, the scenes of Babylon are quite spectacular, with exotic buildings, magnificent city walls and streets, and a large number of extras. I feel that most of the investment Griffith received was used in this story line.. ......The four story lines will clip together similar emotional events or conflicts in different time and space in the process of switching, so as to reflect some similarities in different time and space. And this similarity and emotional resonance reached a climax at the end of the film, the galloping car, the speeding train, the galloping carriage, the chaos of the sea of people in France and Babylon in different time and space, the staggered editing of these pictures and the full mobilization of the soundtrack It relieves the tension and completely releases the charm of parallel montage. Griffith earned his status by making "The Birth of a Nation" a household name, and the nationalist element of the film brought him infamy. This film does not have the distinct ideology of the previous work, instead it is a more moderate mainstream core, but it has gone to extremes in form. Griffith seems to be enjoying life surrounded by controversy, making movies like his playtime.
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