Dir.: David Wark Griffith; Script: David Wark Griffith; Phot.: Billy Bitzer, Karl Brown; Ed.: James Smith, Rose Smith, Joe Allen, D.W. Griffith; Mus.: Galeshka Moravioff; Cast: Lillian Gish, Mae Marsh, Robert Harron, Howard Gaye, Margery Wilson, Constance Talmadge, Bessie Love, George Walsh, Fred Turner, Lillian Langdon, Elmer Clifton, Erich von Stroheim, Alfred Paget; Prod.: Wark Producing Corporation; Sales: Estate of Raymond Rohauer, c/o Edmund Grainger, 100 East 42nd Street, Suite 1020, New York, NY 10017 (États-Unis) .

According to Griffith, "The purpose of the production is to trace a universal theme through various periods of the race's history. Ancient, sacred, medieval and modern time are considered. Events are not set forth in their historical sequence, or according to the accepted forms of dramatic construction, but as they might flash across a mind seeking to parallel the life of the different ages." Begun shortly after he had completed his epic masterpiece, BIRTH OF A NATION (1915), INTOLERANCE may or may not have been the director's response to severe criticism the earlier film has received over its depiction of blacks and the Ku Klux Klan. Griffith conceived INTOLERANCE as a "cinematic fugue" and a "Sun Play of the Ages", integrating the "modern story" he had been working on, called "The Mother and the Law" (about the trials and tribulation of a couple in the slums of a contemporary city), with three new tales tracing incidents of inhumanity through the centuries. These were called "The Judean Story" (about the life of Christ), "The French Story" (the St. Bartholomew's Day Massacre of French Huguenots in 1572) and "The Babylonian Story" (the fall of Belshazzar's Babylon). All four were linked by "Of All Ages", the recurrent image of a woman rocking a cradle accompanied by the title (from Walt Whitman): "Out of the cradle endlessly rocking, Uniter of here and hereafter". This was landmark film that some historians consider more seminal even than BIRTH OF A NATION. Pauline Kael calls it "perhaps the greatest movie ever made and the greatest folly in movie history... In this extravaganza one can see the source of most of the major traditions of the screen -- the methods of Eisenstein and Von Stroheim, the Germans and the Scandinavians, and, when it's bad, De Mille." The present version is in tinted monochrome with a new musical score composed by Galeshka Moravioff.