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D.W. Griffith: An American Life
“This magnificent and important biography...is the best ever written on the man.” – The New Republic ; “Mr. Schickel's excellent and important biography makes it clear that when the movers of our century are tallied, D.W. Griffith, flawed genius that he was, can never lose his eminent position.” – Peter Bogdanovich, The New York Times Book Review
672 pages, Paperback
First published January 1, 1984
3 people are currently reading
220 people want to read
About the author
Richard Schickel
99 books32 followersRichard Schickel is an important American film historian, journalist, author, filmmaker, screenwriter, documentarian, and film and literary critic.
Mr.Schickel is featured in For the Love of Movies: The Story of American Film Criticism. In this 2009 documentary film he discusses early film critics in the 1960s, and how he and other young critics, rejected the moralizing opposition of Bosley Crowther of The New York Times who had railed against violent movies such as Bonnie and Clyde.
In addition to film, Schickel has also critiqued and documented cartoons, particularly Peanuts.
Schickel was a recipient of a Guggenheim Fellowship in 1964. He has also lectured at Yale University and University of Southern California's School of Film and Television.
Mr.Schickel is featured in For the Love of Movies: The Story of American Film Criticism. In this 2009 documentary film he discusses early film critics in the 1960s, and how he and other young critics, rejected the moralizing opposition of Bosley Crowther of The New York Times who had railed against violent movies such as Bonnie and Clyde.
In addition to film, Schickel has also critiqued and documented cartoons, particularly Peanuts.
Schickel was a recipient of a Guggenheim Fellowship in 1964. He has also lectured at Yale University and University of Southern California's School of Film and Television.
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Displaying 1 - 11 of 11 reviews
February 21, 2017
Richard Schickel's obituary was in the NY Times when I came into work tonight. When I was a kid I loved reading his reviews in TIME magazine. I didn't think much of this book, though. Schickel spends a lot of time making excuses for Griffith's racism, and insinuating that the blacks who protested against THE BIRTH OF A NATION in 1915 were hustlers manipulating the media.
Hopefully Schickel is getting the straight dope now in a suitable fashion from the men involved.
Hopefully Schickel is getting the straight dope now in a suitable fashion from the men involved.
February 27, 2018
I became very interested in this book after viewing the 1915 Griffith film, THE BIRTH OF A NATION. Before I saw it, I had been told by a number of folks that it was racist ... but, I was completely unprepared for the extreme nature of that racism. History is rewritten to make an unconscionably biased point and the extent of The Lie is literally jaw-dropping.
Being a film collector and fan, I had seen a number of Griffith’s other films through the years, beginning with MAN’S GENESIS and including THE AVENGING CONSCIENCE, INTOLERANCE, BROKEN BLOSSOMS, WAY DOWN EAST, ORPHANS OF THE STORM and ONE EXCITING NIGHT. I’d also heard that Griffith was unapologetic for THE BIRTH OF A NATION throughout his life and was unable to understand why people were so upset.
How could someone who told such amazing stories that included an understanding of the human condition turn his Art into a vehicle to malign a race? He had shown sympathy for the plight of the Native Americans, and for the defeated Germans after World War I. Why would he tell such Lies about Black Americans?
The answers are in Richard Schickel’s massive volume, D. W. GRIFFITH: AN AMERICAN LIFE. It is neither an apology nor a condemnation, but a successful attempt to understand a life that was shrouded in showmanship and Hollywood mis-direction. I learned so much from this book, and it was intriguing enough to keep me returning for frequent reading sessions.
The writer’s strength is not only in sorting through so much rumor and mis-information to present details the Reader had not known before, but also in adopting an engaging writing style that shied away from a cold, formal textbook approach. This is a lengthy book, yet it never once tired me or caused me to wonder if it was worth finishing.
Richard Schickel was primarily known as a film critic, and that was an occasional drawback as he stepped away from the production story and post-production reception to deliver his opinion on the quality of the film under discussion. Usually, I agreed with his assessment, but not always. He frequently mentioned how Griffith was inept with humor in his films, yet I laughed frequently through the very short film, THOSE AWFUL HATS. He did not care for ORPHANS OF THE STORM nearly as much as I do, and he looked askance at Griffith fans who enjoy THE STRUGGLE (and calls them apologists).
Still, this is a remarkable book that is well worth the read. It informs in an entertaining and compelling manner, and provides fascinating backstory. Yes, I also feel that I have a better understanding of what was going on in Griffith’s mind when he made THE BIRTH OF A NATION ... and that knowledge has inspired me to watch the film again to see if I agree with Schickel’s insights. What Griffith did in turning his artistry into such a piece of false propaganda is still contemptible ... but, good heavens, what a fascinating man.
Being a film collector and fan, I had seen a number of Griffith’s other films through the years, beginning with MAN’S GENESIS and including THE AVENGING CONSCIENCE, INTOLERANCE, BROKEN BLOSSOMS, WAY DOWN EAST, ORPHANS OF THE STORM and ONE EXCITING NIGHT. I’d also heard that Griffith was unapologetic for THE BIRTH OF A NATION throughout his life and was unable to understand why people were so upset.
How could someone who told such amazing stories that included an understanding of the human condition turn his Art into a vehicle to malign a race? He had shown sympathy for the plight of the Native Americans, and for the defeated Germans after World War I. Why would he tell such Lies about Black Americans?
The answers are in Richard Schickel’s massive volume, D. W. GRIFFITH: AN AMERICAN LIFE. It is neither an apology nor a condemnation, but a successful attempt to understand a life that was shrouded in showmanship and Hollywood mis-direction. I learned so much from this book, and it was intriguing enough to keep me returning for frequent reading sessions.
The writer’s strength is not only in sorting through so much rumor and mis-information to present details the Reader had not known before, but also in adopting an engaging writing style that shied away from a cold, formal textbook approach. This is a lengthy book, yet it never once tired me or caused me to wonder if it was worth finishing.
Richard Schickel was primarily known as a film critic, and that was an occasional drawback as he stepped away from the production story and post-production reception to deliver his opinion on the quality of the film under discussion. Usually, I agreed with his assessment, but not always. He frequently mentioned how Griffith was inept with humor in his films, yet I laughed frequently through the very short film, THOSE AWFUL HATS. He did not care for ORPHANS OF THE STORM nearly as much as I do, and he looked askance at Griffith fans who enjoy THE STRUGGLE (and calls them apologists).
Still, this is a remarkable book that is well worth the read. It informs in an entertaining and compelling manner, and provides fascinating backstory. Yes, I also feel that I have a better understanding of what was going on in Griffith’s mind when he made THE BIRTH OF A NATION ... and that knowledge has inspired me to watch the film again to see if I agree with Schickel’s insights. What Griffith did in turning his artistry into such a piece of false propaganda is still contemptible ... but, good heavens, what a fascinating man.
March 19, 2018
Diligent, detailed survey of the life of the great director. So detailed, in fact, that it may only be of interest to hardcore movie historians and enthusiasts. I'm doing research so probably had more of an interest in Griffith than most, but I still found myself skimming over the complicated details of his financial dealings. Because of the desperate financial straits D.W. found himself in, due to his extravagant projects, Schickel's focus on these matters is instructive, though tiring. He draws from many previous sources, as much of it I had already read in other books, but pulled together in one big volume, it's a very useful and comprehensive work.
Griffith's artistic work and peculiar personality, his insightfulness as well as his blind spots, are all explored here. His is a very rich history, particularly in the early days, when he was at the peak of his powers and effectiveness, either churning out one-reelers at a rate of two per week, or boldly going where (nearly) no one had gone before, into the ambitious world of the feature-length epic. His strengths and his flaws were inextricably woven together, leading him on an uneven, unpredictable course in later years, lurching from masterpieces to flops, unable to get a grip on the changing world around him. Schickel is able to distill certain predilections and prejudices from the masses of research, and goes a fair distance to explain some of the most baffling of Griffith's choices. In particular, he successfully argues that the master's downfall was linked both to the predatory nature of the new Hollywood studio system, as well as to D.W.'s own prickly, mercurial personality and pride.
Griffith's artistic work and peculiar personality, his insightfulness as well as his blind spots, are all explored here. His is a very rich history, particularly in the early days, when he was at the peak of his powers and effectiveness, either churning out one-reelers at a rate of two per week, or boldly going where (nearly) no one had gone before, into the ambitious world of the feature-length epic. His strengths and his flaws were inextricably woven together, leading him on an uneven, unpredictable course in later years, lurching from masterpieces to flops, unable to get a grip on the changing world around him. Schickel is able to distill certain predilections and prejudices from the masses of research, and goes a fair distance to explain some of the most baffling of Griffith's choices. In particular, he successfully argues that the master's downfall was linked both to the predatory nature of the new Hollywood studio system, as well as to D.W.'s own prickly, mercurial personality and pride.
February 27, 2014
This is an essential book about the early movies. Griffith was the standard for American filmmakers (and by various quirks of fate, over eighty percent of his early pictures are with us, versus ten percent or less for the rest). Schickel has done a heroic job of chasing down his colleagues (he wrote this when many were still alive) and hearing their versions of events. If you care for movies, it's a thrilling book.
October 27, 2019
Although now dated, this comprehensive biography of the controversial pioneering film maker remains informative and useful. Schickel’s thorough research and familiarity with the breadth of Griffith’s career is impressive, and happily he does not shy away from or excuse Griffith’s more objectionable views and decisions, nor does he repeat any of the director’s own ballyhoo without fact-checking. While Schickel is ultimately sympathetic (any biographer has to be, to spend so much time working on a single individual), the picture that emerges of Griffith includes many flaws, and he appears the more believably human for them. Of course, my own biases may be showing – Schickel and I have a remarkable degree of agreement on what were Griffith’s “best” works (“Way Down East,” the Biographs) – others who are more excited about his early features may disagree with more of what Schickel says. For me, however, that provided the added benefit of pointing me towards movies I haven’t yet seen but am likely to enjoy.
There was a lot I knew about the subject going in, but there was a lot I learned as well. D.W. Griffith remains an important figure in the history of film, even if he was never as important as he and some of his supporters have claimed. He also remains troubling for having left the world a legacy of the birth of American film inextricably bound up with the celebration of racism. Modern film lovers have a duty to confront this history, and Schickel provides context without giving excuses. His coverage of “The Birth of a Nation” is unflinchingly honest, and the fact that its tropes reappear throughout Griffith’s life and career is called out throughout the work.
Schickel isn’t without his own flaws, however. His attitude towards women as historical sources was at times surprising (at one point he expresses relief at being able to read an autobiography by a man, whose view is less “emotional” than the many written by women), and it helps to read some of his assessments of the women in Griffith’s life a bit “against the grain,” as it were. It’s also worth remembering how different film research was in 1984. Without access to home video, how many of the films discussed here were only seen once, in a screening room without the ability to rewind, freeze frame, or simply return to the film when in a better mood? It’s hard to say, and Schickel certainly gives the impression of being thoroughly familiar with the movies he discusses, but if nothing else where possible the reader should form their own views through modern access to the films of the past.
Despite these questions, I would still recommend this as a valuable work on the subject, worthwhile for anyone interested in the early history of filmmaking.
There was a lot I knew about the subject going in, but there was a lot I learned as well. D.W. Griffith remains an important figure in the history of film, even if he was never as important as he and some of his supporters have claimed. He also remains troubling for having left the world a legacy of the birth of American film inextricably bound up with the celebration of racism. Modern film lovers have a duty to confront this history, and Schickel provides context without giving excuses. His coverage of “The Birth of a Nation” is unflinchingly honest, and the fact that its tropes reappear throughout Griffith’s life and career is called out throughout the work.
Schickel isn’t without his own flaws, however. His attitude towards women as historical sources was at times surprising (at one point he expresses relief at being able to read an autobiography by a man, whose view is less “emotional” than the many written by women), and it helps to read some of his assessments of the women in Griffith’s life a bit “against the grain,” as it were. It’s also worth remembering how different film research was in 1984. Without access to home video, how many of the films discussed here were only seen once, in a screening room without the ability to rewind, freeze frame, or simply return to the film when in a better mood? It’s hard to say, and Schickel certainly gives the impression of being thoroughly familiar with the movies he discusses, but if nothing else where possible the reader should form their own views through modern access to the films of the past.
Despite these questions, I would still recommend this as a valuable work on the subject, worthwhile for anyone interested in the early history of filmmaking.
August 24, 2019
I feel like this book would be very different if it was written today. Yes, 30 years ago, we were concerned about racism, but that’s been heightened in the last ten years. (Especially in the last three.) While the author doesn’t leave Griffith’s racism out of the story, he does say that he was no more racist than any other man who grew up in the south during the Civil War. And that Birth Of A Nation was chosen to be the first long form American epic just because it was a story with a lot of action and seemed like a good place to start. Today, we would examine all of this. In 1987, it’s mentioned, we’re told that it was a bad decision, and we move on. There’s no mention of the klan rising again after the release of the film.
It’s still an interesting read about an important American filmmaker. There’s maybe too much time spent on his finances. Although that’s important to his story, it’s also pretty dry stuff. I’m far more curious about the social impact of his films.
It’s still an interesting read about an important American filmmaker. There’s maybe too much time spent on his finances. Although that’s important to his story, it’s also pretty dry stuff. I’m far more curious about the social impact of his films.
September 27, 2024
Book dragged near the end. Should have been.much shorter
November 11, 2009
When I started reading this book, I was advised by a friend that while it is the best book on Griffith thusfar, it is still somewhat superficial. Another friend referred to it as "ponderous." While I gathered my own thoughts during the reading of this 600-page tome, I have to agree with both assessments.
Richard Schickel did meticulous research in the years that he worked on this biography (which was released in 1984). He was blessed to have access to people who actually knew and worked with Griffith, all of whom are now gone. Schickel is also a well-known film critic, so he had his "street cred" before the book was ever released. There is a lengthy sections of notes, a filmography and bibliography. The research, and the film criticism, are both blessings and curses from a reading standpoint.
An abundance of research without a light hand in the sharing of what's learned can lead to a dry, heavy-handed read. Schickel has moments when he tries to be entertaining as well as education, but we are still treated to long passages regarding stock options and contract clauses. For all his digging however, the information he provides can be frustrating. Clarine Seymour is barely mentioned, while Carol Dempster is discussing in exhausting, annoying detail.
Given that Schickel is never able to shed his critic's hat as he writes, the biography is not an objective look at Griffith's work or life. Previous biographers who were sympathetic to Griffith are universally referred to as "apologists," and the reader often feels that the author is viewing Griffith's films by looking down his nose at them. We are treated to opinion offered as fact, such as "so-and-so says, correctly, that ...." Asides regarding silent film in general reflect Schickel's biases about the genre, disappointingly.
All in all, I learned a bit about D.W. Griffith in the book. I only wish that it had been presented a bit more objectively.
Richard Schickel did meticulous research in the years that he worked on this biography (which was released in 1984). He was blessed to have access to people who actually knew and worked with Griffith, all of whom are now gone. Schickel is also a well-known film critic, so he had his "street cred" before the book was ever released. There is a lengthy sections of notes, a filmography and bibliography. The research, and the film criticism, are both blessings and curses from a reading standpoint.
An abundance of research without a light hand in the sharing of what's learned can lead to a dry, heavy-handed read. Schickel has moments when he tries to be entertaining as well as education, but we are still treated to long passages regarding stock options and contract clauses. For all his digging however, the information he provides can be frustrating. Clarine Seymour is barely mentioned, while Carol Dempster is discussing in exhausting, annoying detail.
Given that Schickel is never able to shed his critic's hat as he writes, the biography is not an objective look at Griffith's work or life. Previous biographers who were sympathetic to Griffith are universally referred to as "apologists," and the reader often feels that the author is viewing Griffith's films by looking down his nose at them. We are treated to opinion offered as fact, such as "so-and-so says, correctly, that ...." Asides regarding silent film in general reflect Schickel's biases about the genre, disappointingly.
All in all, I learned a bit about D.W. Griffith in the book. I only wish that it had been presented a bit more objectively.
July 26, 2016
This book was pretty much everything I hoped it would be. An in-depth biography of D.W. Griffith that delves into his life, his times, his art, his personality, his struggles, and, as is unavoidable with Griffith, the degree of his racism. Some of the descriptions of Griffith's financial problems were a bit too detailed for my taste, but the chapters on The Birth of a Nation and Intolerance were fascinating. Each of Griffith's feature films is described from concept to completion to consumption. We get the author's opinion on each film, as well as those of other film historians and contemporary reviewers.
Having recently seen The Birth of a Nation, I have to say that there's no doubt that Griffith was a racist. (He made a movie where the Ku Klux Klan is portrayed as heroic!) Schickel makes an interesting argument that it was an "unconscious" racism; I don't know if that's true or not, but it's one of many interesting points that he raises that are worth pondering.
Having recently seen The Birth of a Nation, I have to say that there's no doubt that Griffith was a racist. (He made a movie where the Ku Klux Klan is portrayed as heroic!) Schickel makes an interesting argument that it was an "unconscious" racism; I don't know if that's true or not, but it's one of many interesting points that he raises that are worth pondering.
March 20, 2019
Schickel gives a pretty thorough account of Griffith's life-- some might say too thorough (the long passages on contracts and financial clauses could put an insomniac to sleep). DWG was an odd, contradictory, even unsavory man in a lot of ways, and that's captured well here. However, I would love to see someone undertake an updated biography, as some parts of this one have dated (such as his bizarre, uncomfortable discussion of the racial politics in Birth of a Nation, where he makes a few too many excuses for Griffith's racism) and Schickel's style is sometimes ponderous and dry, feeling more like an academic paper than a readable biography.
June 29, 2014
I really liked this book, when last seen in 1980s... maybe more than the Griffith films I've seen!
Recommended.
Recommended.
Displaying 1 - 11 of 11 reviews