Judith of Bethulia (1913) was D. W. Griffith's first feature-length film. Griffith devoted extraordinary energy and attention to its making. Indeed, he broke irrevocably with the Biograph management, for whom he had directed over five hundred short films, by his refusal to shorten it or to release it as two separate two-reelers. The last film of Griffith's long and productive association with Biograph, it remained, in his own estimation, one of his very best films.

Everything points to the conclusion that Judith of Bethulia is a key film in Griffith's career. Indeed, it is a film of considerable compositional complexity, thematic directness, and cinematic artistry. In addition, it highlights a fundamental strain in Griffith's filmmaking, perhaps carrying it to the furthest extreme of any of his films. Thus, Judith of Bethulia helps provide a perspective on Griffith's work as a whole. Yet the film has received virtually no criticalattention.

I shall proceed by first sketching the film's narrative (the division into sections is my own).

1. Idyllic Prologue: The film begins with a prologue depicting the life of the peaceful community of Bethulia. The first shots are of the well outside the city's walls. We see, for example, the innocent flirting of the young lovers, Naomi and Nathan (Mae Marsh and Robert Harron). Then the stout walls of the city are shown, and only then the marketplace within the walls of the city. Judith, the widow of the hero Manasses, is introduced. This prologue ends with a shot of the great “brazen gate” that guards the entrance to the city.

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