Civilization (film)

Last updated
Civilization
Civilization Poster.jpg
Directed by Reginald Barker
Thomas H. Ince
Raymond B. West
Screenplay by C. Gardner Sullivan
Edward Sloman
Story by C. Gardner Sullivan
Produced by Thomas H. Ince
Starring Howard C. Hickman
Enid Markey
George Fisher
Herschel Mayall
Cinematography Joseph H. August
Dal Clawson
Clyde De Vinna
Otis M. Gove
Devereaux Jennings
Charles E. Kaufman
Robert Newhard
Irvin Willat
Edited by Thomas H. Ince
Hal C. Kern
LeRoy Stone
Irvin Willat
Music by Hugo Riesenfeld
Victor Schertzinger
Distributed by Triangle Film Corporation
Release date
  • June 2, 1916 (1916-06-02)
Running time
88 min.
CountryUnited States
Languages Silent film
English intertitles

Civilization is a 1916 American pacifist drama film produced by Thomas H. Ince, written by C. Gardner Sullivan and Edward Sloman, and directed by Ince, Reginald Barker and Raymond B. West. The story involves a submarine commander who refuses to fire at a civilian ocean liner supposedly carrying ammunition for his country's enemies. The film was a big-budget spectacle that was compared to both The Birth of a Nation and the paintings of Jean-François Millet. The film was a popular success and was credited by the Democratic National Committee with helping to re-elect Woodrow Wilson as the U.S. president in 1916. The film was one of the early movies to depict Jesus Christ as a character, leading some to criticize the depiction as in "poor taste."

Contents

Civilization is sometimes viewed as one of the first anti-war films. In 1999, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". [1] [2]

Prologue

The film opened with a lengthy prologue. In some theaters, the prologue was performed by live actors and an orchestra. [3] It included music composed by Victor Schertzinger and depicted a peaceful country home, with hills in the distance, a stream and clouds floating peacefully through the sky. Suddenly, the boom of a cannon is heard, artillery guns belch fire, and a Zeppelin flies over the city dropping bombs. In the smoke, "Civilization" is depicted kneeling pleadingly at the feet of a menacing "God of War." Soldiers are seen retreating before deadly gas. [3] Against these scenes, the film's title cards express the film's anti-war message, concluding with the following comments:

Today, the great sorrowful eyes of this same Son of God gaze down upon blackened fields, where the mangled bodies of men are strewn as grains of wheat, upon flaming shattered hamlets and stricken firesides. As He listens to the screaming of the shells, the crashing of monstrous guns, all the ghastly symphony of the reddest war mankind has ever known, His heart must recognize the bitter truth in the statement of one of the world's foremost educators— That in nineteen centuries Civilization has failed to accept honestly the teachings of Jesus Christ. This is an allegorical story of a war that has laughed at the world's flaunting boast of a higher progress. It does not concern itself as to which side is in the right or wrong, but deals with those ranks which are paying, the grim penalty—the ranks of Humanity. If the awful trail of battle stretches vividly through the scenes of the narrative, it is in the hope that a shocked and appalled world may henceforth devote itself more earnestly in the cause of peace. Let our Civilization not be a mockery of our cherished ideals, but rather a synonym of that glorious work—Humanity. Dedicated to that vast, pitiful army whose tears have girdled the universe—the mothers of the dead.

Plot

C. Gardner Sullivan wrote the initial outline for Civilization on Easter Sunday 1915. C. Gardner Sullivan.jpg
C. Gardner Sullivan wrote the initial outline for Civilization on Easter Sunday 1915.

The film opens with the outbreak of a war in the previously peaceful kingdom of Wredpryd. Count Ferdinand is the inventor of a new submarine who is assigned to command the new ship in battle. The King of Wredpryd orders the Count to sink the "ProPatria" ("for my country"), a civilian ship that is believed to be carrying munitions as well as civilian passengers. In his mind's eye, the Count sees a vision of what would happen if he sent a torpedo crashing into the liner, and he recoils. He refuses to follow his orders, saying he is "obeying orders -- from a Higher Power." Realizing his crew will carry out the orders, the Count fights with the crew and blows up his submarine, sending it to the bottom of the sea.

The Count's soul descends into purgatory, where he encounters Jesus. Jesus announces that the Count can find redemption by returning to the living world as a voice for peace. Jesus tells the Count "Peace to thee, child, for in thy love for humanity is thy redemption. In thy earthly body will I return, and with thy voice plead for peace. Much evil is being wrought in my name."

The Count returns to life and is stoned and reviled by his countrymen. He is put on trial by the king, a modern Pontius Pilate, and is sentenced to death. Five thousand women gather at the palace singing a song of peace and pleading with the king to end the war. The mothers' plea inspires the king to visit the cell of the condemned Count. The Count is found dead in his cell, and Jesus emerges from the Count's body and takes the king on a tour of the battlefields. Jesus asks "See here thy handiwork? Under thy reign, thy domain hath become a raging hell!" In the film's most famous scene, Jesus walks through the battlefields amid the carnage of war.

The signing of a peace treaty follows, and the closing scenes depicts the happiness in store for the returning soldiers.

Production

Civilization was a big budget spectacle from Thomas H. Ince. It was in production for nearly a year and advertised to have cost $1,000,000 to make but actually cost only $100,000 and returned $800,000. [4]

C. Gardner Sullivan, The film's screenwriter, said he received the inspiration for the film on Easter Sunday morning in 1915. He wrote an outline on a single piece of typewriter paper, originally calling it "The Mothers of Men." Sullivan showed the outline to Ince, and Ince decided it was worth investing $1 million. [3]

In April 1916, the Los Angeles Times wrote:

The next large feature looming on the horizon is the Ince photoplay, Civilization...It was nearly a year in the making, and is the most pretentious of the Ince features. Many hundreds of persons took part, and it is said that the film contains some of the most beautiful photography ever shown on the screen. [5]

At the time of its release, it was described as "the ultimate achievement of the Ince studios." [6]

Full-page newspaper advertisement promoting the spectacle of Civilization Civilization.jpg
Full-page newspaper advertisement promoting the spectacle of Civilization

The film included large scale battle scenes, scenes of naval battles, trench warfare, aerial battles, and the resulting devastation. Ships from the United States Navy were utilized in the scenes depicting sea battles. [6] Advertising for the film (pictured at right) boasted of the extravagant expense incurred in presenting the spectacle:

Actual Sinking of an Ocean Liner.
Two Battleships Sunk by United States Navy.
$18,000 Used for Ammunition in One Battle.
40,000 People Employed.
10,000 Horses in Thrilling Cavalry Charges.
40 Aeroplanes in Great Air Battle.
Every Death-dealing Device Known to Modern War in Operation.
One Year in the Making.
Cost $1,000,000.00.
Entire Cities Built and Destroyed.
An Awe-inspiring Spectacle that one minute makes your blood run cold and another thrills you with its touches of human gentleness.
The Story of the Greatest Love of the Ages —- the Love of Humanity. [7]

George Fisher was given the daunting role of playing "The Christ" in Civilization. He was "the first cinema actor to portray Christ for the screen." [8] At the time of the film's release, Fisher told the Los Angeles Times that, to get in the proper mood for the role, "he lived the life of a recluse, spending his time in study and meditation." [8] He expressed his hope that the film's message would be heard:

I can say in truth that the playing of this part has affected my whole life and the impressions will never leave me. I have tried earnestly and sincerely, with a deep prayer in my heart, to bring a message to the world, one which will reach, perhaps, millions. Now my only wish is that whoever may witness the performances of Civilization will realize only the truth and beauty of the message. [8]

The premiere was held at the Majestic Theatre in Los Angeles on April 17, 1916. [9]

Cast

The film was a popular success when it was released in 1916. The Democratic National Committee credited the film with helping to re-elect President Woodrow Wilson in 1916. [10] After the United States's entry into World War I, the film was pulled from distribution. [10]

Film director Yasujirō Ozu claimed that he first decided to become a film director when watching Civilization. [11]

Critical reaction

Among critics, the reaction was mixed.

Positive reviews

In La Crosse, Wisconsin, a newspaper reviewer called it a "masterpiece" and the "Biggest Spectacle in History of Motion Pictures," surpassing even D.W. Griffith's The Birth of a Nation :

The photoplay and the spoken drama will be united for the first time in...the million dollar masterpiece of Thomas H. Ince...Civilization is an encyclopedia of the emotions. It is inevitable to compare such a picture, epic in its scope, including battles and the upheaval of a nation, to a similar picture, Griffith's Birth of a Nation. Ince has excelled his predecessor in the art of suggestion. In the vivid battle scenes of Civllization, there are four suggestive flashes for every one Griffith gave us. The conception is classically correct. No theater could be conceived that would be adequate in space or speed of action to carry across to an audience what was conveyed in this film. [3]

In Indiana, a reviewer emphasized the film's spectacular effects and its depiction of Jesus:

'If Christ Should Visit Verdun' would make a good subtitle for Civilization, for that is really its theme...Pictorially, and in the spectacular effects that can be achieved within range of the camera, as well as in the sheer beauty of many of its scenes, it is a masterpiece indeed. Days of peace in the little town of Wrepryd, which is its locale, and in the peaceful country thereabout, might have been posed by the artist Millet, so strikingly do they stand out.

In Fairbanks, Alaska, a reviewer wrote that, if the film had been shown to the people of Europe before the war started there would have been no war:

Civilization is worth $1.50 today, tomorrow, or at any time. It is a masterpiece—a picture that grips and thrills. It preaches a powerful sermon and preaches it in a way that makes it interesting...After seeing Civilization one can truthfully say that had Henry Ford produced a film like this one that Ince directed, and sent it broadcast throughout the civilized world as an argument against war, he would have accomplished more for universal peace than did his famous 'peace expedition.' He would have reached the great mass of people who have but a faint recollection of the horrors of war, and would have showed them the pain and the suffering and the sorrow that war brings with it. Had such a picture as Civilization been shown to the people of Europe before the war started there would have been no war. [12]

Negative reviews

Henry Christeen Warnack in the Los Angeles Times was troubled by the depiction of The Christ and wrote that the film "is not daring, it is only poor taste." [13] He opined that it was offensive to the beliefs of Christians, Jews and atheists alike:

[T]he play will...be popular with everybody with the exception of three classes: It will probably prove offensive to Christians because they are likely to think of it as irreverent; to the Hebrew it will seem mystical and exaggerated; the non-church-goer will find it absurd and undramatic. Outside of the Christian, the Jew and the unbeliever, I haven't the sligthest[ sic?] doubt of its appeal. [13]

Warnack concluded his review as follows:

This violation of good taste and this error in judgment belong to the misconception of the story...Realizing the vast sum of money and the huge investment of talent and good faith that have been expended in this pretentious film, it is with deep regret that I am compelled to report it as a disappointment. [13]

See also

Related Research Articles

<i>Hells Hinges</i> 1916 film

Hell's Hinges is a 1916 American silent Western film starring William S. Hart and Clara Williams. Directed by Charles Swickard, William S. Hart and Clifford Smith, and produced by Thomas H. Ince, the screenplay was written by C. Gardner Sullivan.

<i>The Italian</i> (1915 film) 1915 American silent feature film directed by Reginald Barker

The Italian is a 1915 American silent film feature which tells the story of an Italian gondolier who comes to the United States to make his fortune but instead winds up working as a shoeshiner and experiencing tragedy while living with his wife and child in a tenement on New York's Lower East Side. The film was produced by Thomas H. Ince, directed by Reginald Barker, and co-written by C. Gardner Sullivan and Ince. The film stars stage actor George Beban in the title role as the Italian immigrant, Pietro "Beppo" Donnetti. In 1991, this film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.

<span class="mw-page-title-main">Yasujirō Ozu</span> Japanese filmmaker (1903–1963)

Yasujirō Ozu was a Japanese filmmaker. He began his career during the era of silent films, and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s. The most prominent themes of Ozu's work are family and marriage, and especially the relationships between generations. His most widely beloved films include Late Spring (1949), Tokyo Story (1953) and An Autumn Afternoon (1962).

<i>The Passion of the Christ</i> 2004 film by Mel Gibson

The Passion of the Christ is a 2004 American epic biblical drama film produced, directed, and co-written by Mel Gibson. It stars Jim Caviezel as Jesus of Nazareth, Maia Morgenstern as Mary, mother of Jesus, and Monica Bellucci as Mary Magdalene. It depicts the Passion of Jesus largely according to the gospels of Matthew, Mark, Luke, and John. It also draws on pious accounts such as the Friday of Sorrows, along with other devotional writings, such as the reputed visions attributed to Blessed Anne Catherine Emmerich.

<i>Late Spring</i> 1949 Japanese film

Late Spring is a 1949 Japanese drama film directed by Yasujirō Ozu and written by Ozu and Kogo Noda, based on the short novel Father and Daughter by the 20th-century novelist and critic Kazuo Hirotsu. The film was written and shot during the Allied Powers' Occupation of Japan and was subject to the Occupation's official censorship requirements. Starring Chishū Ryū, who was featured in almost all of the director's films, and Setsuko Hara, marking her first of six appearances in Ozu's work, it is the first installment of Ozu’s so-called "Noriko trilogy", succeeded by Early Summer and Tokyo Story ; in each of which Hara portrays a young woman named Noriko, though the three Norikos are distinct, unrelated characters, linked primarily by their status as single women in postwar Japan.

<i>Tokyo Story</i> 1953 Japanese film by Yasujiro Ozu

Tokyo Story is a 1953 Japanese drama film directed by Yasujirō Ozu and starring Chishū Ryū and Chieko Higashiyama, about an aging couple who travel to Tokyo to visit their grown children.

<i>Ben-Hur: A Tale of the Christ</i> (1925 film) 1925 film by Fred Niblo

Ben-Hur: A Tale of the Christ is a 1925 American silent epic adventure-drama film directed by Fred Niblo and written by June Mathis based on the 1880 novel Ben-Hur: A Tale of the Christ by General Lew Wallace. Starring Ramon Novarro as the title character, the film is the first feature-length adaptation of the novel and second overall, following the 1907 short.

<i>Jerusalem: The Emanation of the Giant Albion</i> Prophetic book by William Blake

Jerusalem: The Emanation of the Giant Albion is a prophetic book by English poet William Blake. Jerusalem is the last, longest and greatest in scope of Blake's works. Etched in handwriting, accompanied by small sketches, marginal figures and huge full-plate illustrations, it has been described as "visionary theatre". The poet himself believed it was his masterpiece and it has been said that "of all Blake's illuminated epics, this is by far the most public and accessible". Nonetheless, only six copies were printed in Blake's lifetime and the book, like all of Blake's prophetic works, was all but ignored by his contemporaries.

<span class="mw-page-title-main">Grace Cunard</span> American actress

Grace Cunard was an American actress, screenwriter and film director. During the silent era, she starred in over 100 films, wrote or co-wrote at least 44 of those productions, and directed no fewer than eight of them. In addition, she edited many of her films, including some of the shorts, serials, and features she developed in collaboration with Francis Ford. Her younger sister, Mina Cunard, was also a film actress.

<i>The Descent from the Cross</i> (Rubens, 1612–1614) Painting by Peter Paul Rubens

The Descent from the Cross is the central panel of a triptych painting by the Baroque artist Peter Paul Rubens in 1612–1614. It is still in its original place, the Cathedral of Our Lady, Antwerp, Belgium. The painting is considered to be one of Rubens' masterpieces. The painting depicts the moment when the body of Jesus Christ is taken down from the cross after his crucifixion. The subject was one Rubens returned to again and again in his career. The artwork was commissioned on September 7, 1611, by the Confraternity of the Arquebusiers, whose patron saint was St. Christopher.

<i>Hearts of the World</i> 1918 film by D. W. Griffith

Hearts of the World is a 1918 American silent World War I propaganda film written, produced and directed by D. W. Griffith. In an effort to change the American public's neutral stance regarding the war, the British government contacted Griffith due to his stature and reputation for dramatic filmmaking.

<i>The Robe</i> (film) 1953 film by Henry Koster

The Robe is a 1953 American fictional Biblical epic film that tells the story of a Roman military tribune who commands the unit that is responsible for the Crucifixion of Jesus. The film was released by 20th Century Fox and was the first film released in the widescreen process CinemaScope. Like other early CinemaScope films, The Robe was shot with Henri Chrétien's original Hypergonar anamorphic lenses.

<span class="mw-page-title-main">J. Searle Dawley</span> American director

James Searle Dawley was an American film director, producer, screenwriter, stage actor, and playwright. Between 1907 and the mid-1920s, while working for Edison, Rex Motion Picture Company, Famous Players, Fox, and other studios, he directed more than 300 short films and 56 features, which include many of the early releases of stars such as Douglas Fairbanks, Mary Pickford, Pearl White, Marguerite Clark, Harold Lloyd, and John Barrymore. He also wrote scenarios for many of his productions, including one for his 1910 horror film Frankenstein, the earliest known screen adaptation of Mary Shelley's 1818 novel. While film direction and screenwriting comprised the bulk of Dawley's career, he also had earlier working experience in theater, performing on stage for more than a decade and managing every aspect of stagecraft. Dawley wrote at least 18 plays as well for repertory companies and for several Broadway productions.

<span class="mw-page-title-main">Anna Lehr</span> American actress

Anna Lehr was an American silent film and stage actress.

<span class="mw-page-title-main">George Fisher (actor)</span> American actor

George Fisher was an American film actor of the silent era. He appeared in more than 70 films between 1911 and 1929. His role in the 1916 Thomas H. Ince film Civilization is noteworthy as the first cinematic depiction of Jesus.

<span class="mw-page-title-main">C. Gardner Sullivan</span> American screenwriter (1884–1965)

Charles Gardner Sullivan was an American screenwriter and film producer. He was a prolific writer with more than 350 films among his credits. In 1924, the magazine Story World selected him on a list of the ten individuals who had contributed the most to the advancement of the motion picture industry from its inception forward. Four of Sullivan's films, The Italian (1915), Civilization (1916), Hell's Hinges (1916), and All Quiet on the Western Front (1930), have been listed in the National Film Registry.

<span class="mw-page-title-main">Thomas H. Ince</span> American film producer (1880–1924)

Thomas Harper Ince was an American silent era filmmaker and media proprietor. Ince was known as the "Father of the Western" and was responsible for making over 800 films.

<i>The Toast of Death</i> 1915 film by Thomas H. Ince

The Toast of Death is a 1915 silent era drama/romance motion picture released by Mutual Film Corporation starring Louise Glaum, Harry Keenan, and Herschel Mayall.

<i>I Graduated, But...</i> 1929 film

I Graduated, But... is a 1929 Japanese silent film directed by Yasujirō Ozu. The film is now lost, except for an excerpt of approximately 10 minutes.

<span class="mw-page-title-main">Chigasakikan</span> Building in Chigasaki Kanagawa, Japan

The Chigasakikan (茅ヶ崎館) is a ryokan located in Chigasaki, Kanagawa, Japan. It describes itself as one of the few remaining seaside ryokan in the Shonan area to preserve the atmosphere of that age, when such establishments were plentiful, making it an important part of the Shonan area’s cultural history.

References

  1. "Preserving the Silver Screen (December 1999) - Library of Congress Information Bulletin". www.loc.gov. Retrieved 2020-06-01.
  2. "Complete National Film Registry Listing". Library of Congress. Retrieved 2020-06-01.
  3. 1 2 3 4 ""CIVILIZATION" IS INCE MASTERPIECE PICTURING CHRIST: Biggest Spectacle in History of Motion Pictures Comes to La Crosse Theater Sunday". La Crosse Tribune. 1916-10-21.
  4. Taves, Brian (November 30, 2011). Thomas Ince: Hollywood's Independent Pioneer. University Press of Kentucky. p. 97. ISBN   978-0813134222. Although advertised as a million-dollar spectacle, Civilization actually cost approximately $100,000 and returned $800,000.
  5. "ANOTHER BIG FEATURE: 'Civilization,' Ince Photoplay, Is Said to Realize in its Message the Horrors of War and Benefits of Peace in a Very Unique Way". Los Angeles Times. 1916-04-02.
  6. 1 2 "SCREEN: War Feature; Spectacle Ready; Premiere of 'Civilization' Tomorrow Night". Los Angeles Times. 1916-04-16.
  7. "Newspaper Advertisement for "Civilization"". La Crosse Tribune. 1916-10-21.
  8. 1 2 3 "DEVOTED DEEP STUDY TO ROLE: Idealistic Interpreter Plays Role of Master; Youthful Actor Exercised Special Care in Preparation for Portrayal of the Man of Peace in Ince Cinema Drama -- Is Said to Have Achieved Big Message". Los Angeles Times. 1916-04-09.
  9. J. C. Jessen (6 May 1916). ""Civilization" Is Plea Against Savagery of War". Motion Picture News . 13 (18): 2677. Wikidata   Q104525929.
  10. 1 2 Scott Rivers (1996-09-07). "1916 Film Brings Jesus to Battlefield". The Salt Lake Tribune.
  11. Hasumi, Shiguéhiko (2003). Kantoku Ozu Yasujiro[Director Yasujiro Ozu] (in Japanese) (Enlarged and definitive ed.). Chikuma Shobo. ISBN   4-480-87341-4.
  12. "LARGE AUDIENCE IS THRILLED BY INCE SPECTACLE". Fairbanks Daily Times. 1916-09-15.
  13. 1 2 3 Henry Christeen Warnack (1916-04-18). "DRAMA: Not Daring; Violates Good Taste; Artistic Touch Is Absent in Story of War Picture". Los Angeles Times.