The Fall of Babylon

Plot

The Fall of Babylon depicts the ancient conflict between the decadent Babylonian empire under Prince Belshazzar and the invading Persian forces led by Cyrus the Great. The story centers on the Mountain Girl, a beloved of Belshazzar who warns him of the coming invasion but is ignored due to court intrigue and jealousy from the Princess Beloved. As Cyrus lays siege to the magnificent city of Babylon, the Mountain Girl tries to rally the people and save her beloved prince. The film culminates in the spectacular fall of Babylon, with its massive walls breached and the once-great city descending into chaos and destruction. Through this ancient tale, Griffith explores themes of intolerance, hubris, and the cyclical nature of human conflict across civilizations.

Historical Background

Released in 1919, just after World War I, The Fall of Babylon emerged during a period of significant change in American cinema and society. The film industry was transitioning from short films to feature-length productions, and Griffith was at the forefront of this evolution. Post-war America was experiencing both economic prosperity and social upheaval, with audiences seeking escapism through grand spectacles. The film's themes of conflict and the fall of empires resonated with a world still processing the devastation of the Great War. Additionally, this period saw the rise of Hollywood as the global center of film production, with Griffith's studio operations helping establish the industry's infrastructure. The film also reflects the artistic ambitions of early cinema, as filmmakers like Griffith sought to prove that movies could be as artistically significant as literature or theater.

Making Of

The creation of The Fall of Babylon was primarily a business decision by D.W. Griffith to recoup some of the massive financial losses from Intolerance. After the original film's disappointing box office performance, Griffith realized that its complex, intercut narrative was too challenging for many audiences. He spent months carefully re-editing the Babylonian segment into a standalone narrative, adding new scenes to provide clearer character motivations and a more linear story progression. The production team faced the challenge of making the footage feel fresh despite being shot years earlier. Griffith worked closely with cinematographer Billy Bitzer to enhance the visual impact of the battle sequences and added new title cards to clarify the story. The re-editing process was meticulous, with Griffith reportedly spending hundreds of hours in the cutting room to perfect the pacing and dramatic impact of this new version.

Visual Style

The cinematography, primarily by G.W. Bitzer, showcased revolutionary techniques for the era. The film employed innovative camera movements, including sweeping crane shots that soared over the massive Babylonian sets, creating a sense of epic scale rarely seen in cinema at the time. Bitzer used multiple cameras to capture the complex battle sequences, allowing for dynamic editing and varied perspectives. The lighting techniques were particularly advanced, with carefully controlled illumination creating dramatic shadows and highlights that emphasized the architectural grandeur of the sets. The cinematography also featured early examples of deep focus photography, keeping both foreground and action in the distance sharp and clear. The film's visual style influenced how historical epics would be photographed for decades, establishing techniques that would become standard in the genre.

Innovations

The Fall of Babylon showcased numerous technical innovations that pushed the boundaries of early cinema. The massive Babylonian set, originally built for Intolerance, represented an unprecedented achievement in production design, featuring working elevators, movable walls, and intricate architectural details. The film employed pioneering special effects techniques, including miniatures, matte paintings, and carefully coordinated explosions to depict the city's destruction. The battle sequences featured thousands of extras and complex choreography, requiring sophisticated planning and coordination. The camera work included innovative crane shots and tracking movements that created a sense of grand scale and dynamic action. The film's editing techniques, particularly in the battle scenes, demonstrated advanced understanding of rhythm and pacing. These technical achievements not only enhanced the film's impact but also established new standards for epic filmmaking.

Music

As a silent film, The Fall of Babylon would have been accompanied by live musical performances during its original theatrical run. The score was typically provided by theater orchestras or organists, who used compiled music or original compositions to match the film's dramatic moments. Griffith's productions often included detailed musical cue sheets suggesting appropriate pieces for various scenes. For the Babylonian sequences, music likely included classical pieces with Middle Eastern or exotic themes, along with dramatic orchestral works for the battle scenes. Some theaters may have used Joseph Carl Breil's original compositions from Intolerance, adapted for this standalone version. The music was crucial in establishing the epic tone and emotional impact of the film, particularly during the spectacular destruction sequences.

Memorable Scenes

• The spectacular siege of Babylon featuring thousands of extras and complex battle choreography
• The Mountain Girl's dramatic warning to Prince Belshazzar in the palace throne room
• The breathtaking shot of the massive Babylonian walls and towers, showcasing the incredible scale of the production
• The climactic destruction sequence showing the fall of the great city with innovative special effects
• The emotional farewell scene between the Mountain Girl and her beloved before the final battle
• The elaborate procession and feast scenes in the Babylonian palace, demonstrating Griffith's mastery of crowd staging

What Critics Said

Contemporary critics generally praised The Fall of Babylon for its visual spectacle and improved narrative coherence compared to Intolerance. The New York Times noted that the standalone format made the story 'more accessible and emotionally engaging' than the original. Critics particularly commended the enhanced character development and clearer storytelling structure. However, some reviewers felt that the film lacked the artistic ambition of Griffith's more innovative works. Modern critics and film historians view The Fall of Babylon as an interesting artifact of early cinema's evolution, appreciating its technical achievements while noting its place in Griffith's pattern of grandiose historical epics. The film is often analyzed in the context of Griffith's career trajectory and the development of the epic film genre.

What Audiences Thought

Audiences responded more positively to The Fall of Babylon than they had to Intolerance, likely due to its simpler, more straightforward narrative structure. The film performed moderately well at the box office, though it didn't achieve the blockbuster success Griffith had hoped for. Contemporary audience reports indicate that viewers were particularly impressed by the massive battle sequences and the spectacular depiction of Babylon's destruction. The Mountain Girl character proved popular with audiences, and Constance Talmadge's performance was widely praised. However, by 1919, audience tastes were beginning to shift toward more contemporary stories, and the ancient setting may have limited the film's broad appeal. The film found its most enthusiastic reception among audiences who appreciated technical spectacle and grand scale in cinema.

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