Sam de Grasse Movies

While busy with The Birth of a Nation, director D.W. Griffith began a small-scale contemporary drama called The Mother and the Law. The film was designed as an indictment against professional do-gooders who take it upon themselves to "reform" the poor. One victim of this misguided treatment is played by Mae Marsh, whose baby is claimed by the moral uplifters when her husband (Bobby Harron) proves unable to provide for his family. The film's dramatic highpoints include a violent capital vs. labor clash, and a climactic race for life as the husband is slated for execution for a crime he did not commit. If this all sounds familiar, it is because an abbreviated version of The Mother and the Law was incorporated into Griffith's four-part spectacular Intolerance; it was later released as a separate feature, with newly shot scenes added. ~ Hal Erickson, All Movie Guide

The most successful and artistically advanced film of its time, The Birth of a Nation has also sparked protests, riots, and divisiveness since its first release. The film tells the story of the Civil War and its aftermath, as seen through the eyes of two families. The Stonemans hail from the North, the Camerons from the South. When war breaks out, the Stonemans cast their lot with the Union, while the Camerons are loyal to Dixie. After the war, Ben Cameron (Henry B. Walthall), distressed that his beloved south is now under the rule of blacks and carpetbaggers, organizes several like-minded Southerners into a secret vigilante group called the Ku Klux Klan. When Cameron's beloved younger sister Flora (Mae Marsh) leaps to her death rather than surrender to the lustful advances of renegade slave Gus (Walter Long), the Klan wages war on the new Northern-inspired government and ultimately restores "order" to the South. In the original prints, Griffith suggested that the black population be shipped to Liberia, citing Abraham Lincoln as the inspiration for this ethnic cleansing. Showings of Birth of a Nation were picketed and boycotted from the start, and as recently as 1995, Turner Classic Movies cancelled a showing of a restored print in the wake of the racial tensions around the O.J. Simpson trial verdict. ~ Hal Erickson, All Movie Guide

Douglas Fairbanks Sr.'s splendid physique was seen in all its pristine glory in the 1916 western The Half-Breed. In what might have been a movie first, the title character is sympathetically portrayed, despite the "onus" of having Indian blood. Living as an outcast, young Lo Dorman (Fairbanks) is welcomed back into society by pretty preacher's daughter Nellie (Jewel Carmen), who cares not a whit about his mixed parentage. But Dorman's presence in town proves uncomfortable for Sheriff Dunne (Sam DeGrasse) -- who, unbeknownst to anyone himself, is Lo's father. The sheriff does his worst to discredit Lo in the eyes of the townsfolk, whereupon our hero joins a travelling medicine show, finding true happiness with another "outcast," dance-hall girl Teresa (Alma Rubens). In an interview with Kevin Brownlow, director Allan Dwan revealed that The Half-Breed almost didn't get made, thanks to the interference of Fairbank's then wife, who didn't want her husband to appear as an "unwashed" half-breed. To circumvent this, Dwan inserted a scene showing a nearly nude Fairbanks taking a "bath" in a river, then thoroughly scrubbing himself and his clothes with sand. "He was a washed Indian, not a dirty Indian," Dwan explained. "I only put the scene in to satisfy Mrs. Fairbanks." Unfortunately, only the first two reels of The Half-Breed are known to exist. ~ Hal Erickson, All Movie Guide

Sometime during the shooting of the landmark The Birth of a Nation, filmmaker D.W. Griffith probably wondered how he could top himself. In 1916, he showed how, with the awesome Intolerance. The film began humbly enough as a medium-budget feature entitled The Mother and the Law, wherein the lives of a poor but happily married couple are disrupted by the misguided interference of a "social reform" group. A series of unfortunate circumstances culminates in the husband's being sentenced to the gallows, a fate averted by a nick-of-time rescue engineered by his wife. In the wake of the protests attending the racist content of The Birth of a Nation, Griffith wanted to demonstrate the dangers of intolerance. The Mother and the Law filled the bill to some extent, but it just wasn't "big" enough to suit his purposes. Thus, using The Mother and the Law as merely the base of the film, Griffith added three more plotlines and expanded his cinematic thesis to epic proportions. The four separate stories of Intolerance are symbolically linked by Lillian Gish as the Woman Who Rocks the Cradle ("uniter of the here and hereafter"). The "Modern Story" is essentially The Mother and the Law; the "French Story" details the persecution of the Huguenots by Catherine de Medici (Josephine Crowell); the "Biblical Story" relates the last days of Jesus Christ (Howard Gaye); and the "Babylonian Story" concerns the defeat of King Belshazzar (Alfred Paget) by the hordes of Cyrus the Persian (George Siegmann).

Rather than being related chronologically, the four stories are told in parallel fashion, slowly at first, and then with increasing rapidity. The action in the film's final two reels leaps back and forth in time between Babylon, Calvary, 15th century France, and contemporary California. Described by one historian as "the only film fugue," Intolerance baffled many filmgoers of 1916 -- and, indeed, it is still an exhausting, overwhelming experience, even for audiences accustomed to the split-second cutting and multilayered montage sequences popularized by Sergei Eisenstein, Orson Welles, Jean-Luc Godard, Joel Schumacher, and MTV. On a pure entertainment level, the Babylonian sequences are the most effective, played out against one of the largest, most elaborate exterior sets ever built for a single film. The most memorable character in this sequence is "The Mountain Girl," played by star on the rise Constance Talmadge; when the Babylonian scenes were re-released as a separate feature in 1919, Talmadge's tragic death scene was altered to accommodate a happily-ever-after denouement. Other superb performances are delivered by Mae Marsh and Robert Harron in the Modern Story, and by Eugene Pallette and Margery Wilson in the French Story. Remarkably sophisticated in some scenes, appallingly naïve in others, Intolerance is a mixed bag dramatically, but one cannot deny that it is also a work of cinematic genius. The film did poorly upon its first release, not so much because its continuity was difficult to follow as because it preached a gospel of tolerance and pacifism to a nation preparing to enter World War I. Currently available prints of Intolerance run anywhere from 178 to 208 minutes; while it may be rough sledding at times, it remains essential viewing for any serious student of film technique. ~ Hal Erickson, All Movie Guide

The Good Bad Man is at once a straight western and a gentle spoof of the genre. Douglas Fairbanks plays a fellow who calls himself "Passin' Through." Orphaned at birth, Our Hero grows up to be a Robin-Hood-like bandit, robbing the rich so that he can finance a home for unwanted children. In this guise, he meets Bud Fraser (Sam DeGrasse), the man who killed his father. Bessie Love plays the obligatory heroine, who frankly hasn't much to do in the proceedings. The Good Bad Man was directed by frequent Fairbanks collaborator Allan Dwan; it was photographed by Victor Fleming, who later became an excellent director in his own right (one of his 1930s films was a little something called Gone with the Wind). ~ Hal Erickson, All Movie Guide

Though he was obliged to share directorial credit with Wilfred Lucas, Tod Browning graduated to "prestige" pictures with his 1917 release Jim Bludso. The film was based on a popular ballad, written by former U.S. Secretary of State John Hay. The original ballad ended tragically, as steamboat captain Jim Bludso sacrificed his life for the sake of his passengers. In the film version, however, Bludso (played by Wilfred Lucas) not only saved his ship, but also survived to win the love of the beautiful Gabrielle (Olga Grey). The film was shot on location along the Sacramento River, a familiar movie substitute for the mighty Mississippi. According to Tod Browning's biographers David J. Skal and Elias Savada, Wilfred Lucas' "co-director" credit may have purely been a contractual matter; recently uncovered evidence indicates that Browning was the sole director. ~ Hal Erickson, All Movie Guide

This drama was based on the then-popular novel by Richard Hardin Davis. Billy Winthrop (Franklyn Farnum) is the idle son of Samuel Winthrop (Al Filson). When Billy discovers that it's destroying his father financially to constantly get him out of trouble, he straightens up. Although Billy loves Beatrice Forbes (Edith Johnson), she is already engaged to marry Ernest Peabody (Sam deGrasse), the son of banker Cyrus Peabody (Howard Crampton). Billy and Beatrice plan to elope, but it isn't as easy for them to run off together as they thought it would be. They get tangled up in situations involving forgery and murder that need to be solved before they can get married. Both Peabody father and son are revealed as the crooks. Director Joseph deGrasse was the older brother of Sam deGrasse. A pre-stardom Lon Chaney has a small but intense role as Beatrice's father, Paul Revere Forbes. ~ Janiss Garza, All Movie Guide

Fannie Ward plays Marion Clark, a manicurist who gets involved with a family who live in the boardinghouse where she resides. She is in love with the son, Dick Strong (W.E. Lawrence); the mother is an invalid and the sister, Gladys (Irene Aldwyn), is pretty but naive. Gladys falls in with a fast crowd and becomes involved with Malcom Dunn (Sam DeGrasse), who happens to be one of Marion's clients. Dunn is married but that doesn't stop him from playing around. The troubled Gladys goes to Marion with her problem, and Marion is determined to confront Dunn. Unfortunately, Marion becomes the one who is accused of an affair with Dunn and when Mrs. Dunn (Mary Alden) starts divorce proceedings, the innocent manicurist is named corespondent. It is up to Marion to set the facts straight and save her reputation. In an era that had very strict moral values, a film with this subject matter was potentially problematic; the studio thought they solved this by inserting a bunch of sermonizing subtitles at the beginning of the picture. All this served to do, according to reviews of the day, was bore the audience before the picture had even started. ~ Janiss Garza, All Movie Guide

Jack Boyle's Boston Blackie stories were a popular part of Redbook magazine in the late 'teens, and this film wasn't the first time the fictional crook was brought to the silver screen. In this particular scenario, Boston Blackie (Sam DeGrasse) finds an ad in the newspaper from someone looking for a safecracker. He arranges a meeting, and the ad's writer turns out to be Doris Macon, a beautiful but very nervous young woman (Priscilla Dean). Doris explains that she needs the contents of a certain safe removed, and she is willing to pay him well for his efforts. He accepts the job and they go to the house (and safe) in question. Just as the safe's door is being blown off, its owner (Fred Kelsey) enters. In a frenzy, he dashes -- not to the safe, but to the gramophone, and as Blackie and Doris try to make their escape, Blackie snatches a handful of records and the needle. They are caught by secret service men, but It turns out Doris is the girlfriend of one of the men, Robert Melchoir (Ashton Dearholt), and she was helping him get evidence on the safe's owner, under suspicious as a spy. The papers Doris took from the safe reveal nothing, but the records Blackie took, when played with that special needle, reveal government secrets. Although billed as a "special attraction" by Universal, this picture was clumsily made and was really nothing more than a glorified programmer. ~ Janiss Garza, All Movie Guide

Because of his portrayals of villainous Prussians in pictures such as Hearts of the World and The Heart of Humanity, Erich von Stroheim was already famous as "the man you love to hate." But Stroheim had also been quite busy behind the camera over the years, as an assistant director to D.W. Griffith and art director to Douglas Fairbanks. When he approached Carl Laemmle at Universal Studios with a screenplay entitled The Pinnacle, the mogul wasted no time in agreeing to let Stroheim both star and direct. The result was the auteur's first film, renamed Blind Husbands. In it, Stroheim shows deeper facets to his officer (this time an Austrian) who, underneath the elaborate trappings, is no gentleman. American couple Dr. and Mrs. Armstrong (Sam deGrasse and Francelia Billington) arrive at a retreat in the Alps at the same time as Lieutenant Erich von Steuben (Stroheim). The Lieutenant is a reckless and dissolute soul who sets his cap for Mrs. Armstrong. Since her husband is kindly but neglectful, she is easy prey. Their flirtation is watched over carefully by the guide Sepp (Gibson Gowland), who is indebted to the good doctor, and he manages to keep the wife away from the Lieutenant on the night the four of them spend together in a lodge. The next day when von Steuben and Dr. Armstrong climb the summit, a letter from Mrs. Armstrong falls out of von Steuben's pocket and a fierce battle between the two men takes place on the peak. The doctor cuts the rope binding the two men together, and for his sins, the Lieutenant falls to a terrible death. This picture introduces themes that carried throughout Stroheim's career -- the eternal triangle shows up in most of his films in one form or another, and the climatic struggle between the two men would be repeated in the director's flawed masterpiece, Greed (which starred Gowland as McTeague). The easy decadence and the careful attention to detail would also be constants. Even though this isn't anywhere close to his best work, Blind Husbands was one of the most impressive directorial debuts of all time -- "This picture is exceptional. It marks an epoch," spouted an enthusiastic Variety critic. Stroheim was poised at the dawning edge of the '20s, at ready to give the decade some of its most deliriously debauched dramatic moments. ~ Janiss Garza, All Movie Guide

Made in between his two classics, Blind Husbands and Foolish Wives, this drama from director Erich von Stroheim centers on a restless American wife married to a rich but unsuccessful playwright who reels after his newest work is rejected. The trouble begins when she finds herself strongly attracted to a handsome army officer and begins an affair. Unfortunately, the scandal hits the paper, though no names are mentioned. Upon reading about it, the playwright is suddenly inspired and uses it to beef up his play. He has no idea that his wife is involved until opening night. The play is a smash hit thanks to his wife's philandering, but she is utterly humiliated. She gets a headache and asks her husband, who still doesn't know, to escort her home. Instead he asks her lover to do it. As the party goes on, the truth theatens to come out. ~ Matthew Tobey, All Movie Guide

This minor dramatic programmer was an independent production. In spite of the fact that she's loved by Howard (William P. Carleton), a fine upstanding fellow, Florence (Fritzi Brunette) decides to marry the scheming George Otis (Sam De Grasse). Otis uses her to help him put over some questionable business deals. But when he asks her to get a 25,000-dollar loan from her former sweetheart, she can't go through with it. Instead, she gets the money from her mother. Because she does not tell him where the money came from, Otis suspects that she was intimate with Howard. When he needs even more money, he demands that she approach him again, but she refuses. Otis accuses Florence of being unfaithful, and finally she wakes up and realizes the kind of man she has married. She walks out on him, and they begin divorce proceedings. It is assumed that when she is free, Florence will marry Howard. ~ Janiss Garza, All Movie Guide