Jennifer Lee

It's always a pleasure to see ace western director Leslie Selander in action, and Riders of Vengeance is no exception. Originally released as The Raiders, this Universal programmer stars Richard Conte as a miner who leads an expedition of his compatriots to the California Gold Rush. Crooked Morris Ankrum sets about to cheat Conte and his friends out of their claims. The good guys stage a counteroffensive with the help of Mexican miner Richard Martin. Viveca Lindfors once more brings intelligence and charm to a two-dimensional role. Watch for future Gunsmoke star Dennis Weaver as "Logan". ~ Hal Erickson, All Movie Guide

Cowboy star Tom Mix takes a break from the far West to play a rancher headed for the far North in this action-adventure. Michael Dane (Mix) is headed for gold country to join his brother Peter (Eugene Pallette) and his partner, where they have struck it rich. On the boat he meets fetching Estelle MacDonald (Kathleen Key), the niece of the trading post's manager, Cameron MacDonald (Frank Campeau), and falls in love. When he arrives, he finds disaster has struck -- Peter has been murdered and his partner is sentenced to death for the crime. Dane is convinced that the partner is innocent and goes about searching for the real culprit -- who turns out to be MacDonald. When MacDonald is killed by his own trap, Estelle is left unprotected at the camp. Dane comes to her rescue, battles a pack of fierce wolves, and returns to the States with Estelle by his side. ~ Janiss Garza, All Movie Guide

In this completely implausible silent picture, Bessie Love plays Nina, a blind flower girl and Elmer Clifton is Jimmie, the hunchbacked newsboy who loves her. Nina has some wealthy friends and one of them decides to pay to have her sight restored. Jimmie, who knows that Nina imagines him to be hale and handsome, goes away, determined to throw himself in front of a train and end it all. That's all anyone knows about the hunchback until the end, when Nina is about to marry the man who paid for her operation. Just then, Jimmie walks through the door -- completely healed of his deformities. The same doctor who had taken care of Nina has seen to it that Jimmie's deformity was corrected. Even in the days of silent films, this scenario was too much for viewers to take. ~ Janiss Garza, 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

One might be inclined to dismiss the title of this film as a contradiction in terms -- but with Lillian Gish in the lead, how could the heroine be anything else but innocent? Based on a story by D.W. Griffith, writing pseudonymously as "Granville Warwick," the story concerns a Kentucky belle named Dorothy Raleigh (Gish), who impulsively marries big-city gambler Forbes Stewart (Sam De Grasse). As a result, Dorothy's grim, taciturn father Colonel Raleigh (Spottiswood Aitken) declares that, so far as he is concerned, his daughter is dead. Inexplicably abandoned by Stewart, the pregnant Dorothy returns home, only to be denied entrance by her unforgiving father. The girl moves to the "colored" section of town, where she gives birth to her baby. Compounding Dorothy's woes is the sudden appearance of Stewart's current mistress (Mary Alden), who claims that she has married Stewart. Disconsolately, Dorothy prepares to take her own life, when Stewart returns, explaining that he has been detained by a trumped-up prison term, and begging his wife's forgiveness. Lillian Gish seldom mentioned An Innocent Magdalene in later years, preferring instead to discuss the concurrently produced Griffith production Intolerance, in which she played a much smaller but far more memorable role. ~ Hal Erickson, All Movie Guide