This photoplay is given power not by straining for depth of passion, but depth of what might be called tableau-emotion, a much more elusive thing.

(Texte paru en 1917)

Shocked by his critics, Griffith in the same year poured his earnings into an even more extravagant spectacle which attacked, of all things, INTOLERANCE (1915). He returned from the inflammatory to the sentimental mode, viewing not just one period of history but four, in the grossest and most naïve form. By doing so, he succeded in turning the greatest intellects gainst the cinema for some fifteen years.

(Texte paru en 1973)

He [Griffith] doesn't prove his point, he simply proclaims it - forcing his characters to behave according to his theories and then editorializing either for or against them. But this is obviously all beside the point. INTOLERANCE remains incomparably magnificent - nutty and visionary, ludicrous and breathtaking.

(Texte paru en 1989)

"Sur le moment, je n'ai pas eu, en jouant sur INTOLÉRANCE, le sentiment de participer à un chef-d'oeuvre. Griffith ne nous faisait pas apprendre de script, mais il pouvait faire répéter une scène pendant deux semaines. Ainsi, celle où la tour de Babylone s'effondre, dans laquelle jouaient des centaines de figurants. Il l'a filmée plusieurs fois, faisant chaque jour reconstruire un décor."

(Texte paru en 1982)