The Avenging Conscience: or 'Thou Shalt Not Kill'

Henry B. Walthall stars as the Nephew, who has been raised and doted upon by his Uncle (Spottiswoode Aiken). But when the Nephew meets the Sweetheart (Blanche Sweet), the Uncle objects to their plans to get married. This leads the Nephew down a path toward murder and madness. Also featuring George Siegmann as the Italian.

This is a pretty strange movie, with a lot of unexpected developments and odd imagery, including floating Jesus, Moses and the Ten Commanments, shirtless kids crawling out of a tree, a devil hanging out with animal-headed friends, Pan playing his flute, and Mae Marsh deciding that the best way to get a man is to wear a waitress outfit. Walthall is very entertaining, especially in the unhinged final quarter of the movie. The very last section is a cheat, but not totally unexpected. This didn't hold the cultural impact of The Birth of a Nation or display the kind of artistic ambition of Intolerance, but in many ways I found this more entertaining. Recommended.

Avenging Conscience; Thou Shalt Not Kill, The (1914)

*** (out of 4)

Feature from D.W. Griffith, which he quickly shot before he started filming on The Birth of a Nation. An uncle is constantly putting presure on his nephew (Henry B. Walthall) to spend more time on his work. When the nephew falls in love with a local girl (Blanche Sweet) the uncle demands that they call it off. When the nephew can't think of anything else, he decides the only way to keep the girl is by killing the uncle. This film is based on several Edgar Allan Poe stories with the second half of the film dealing mainly with The Tell-Tale Heart. You can tell this film was quickly made but there's still some nice direction, good performances and G.W. Bitzer's wonderful cinematography. There's some nice scenes dealing with devils and ghouls from Hell as well as a scene of Jesus. The special effects are quite nice for the era as well. Mae Marsh and Ralph Lewis have small parts. Due to the lack of copyright laws at the time, Griffith used all these short Poe stories without any credit being given.

The Avenging Conscience / Thou Shalt Not Kill (1914) : Brief Review -

Perhaps, Griffith's only horror element but still a pathbreaking material for a crime genre which was later renamed as murder mystery. An instant but profound Classic! So, DW Griffith has made some horror material and I wasn't aware of it but Today i have learnt it. I can argue for a whole day on a topic 'What is Horror Genre'? Mostly, masses know only one definition and that's ghost or spiritual evil stuff. It ain't like that, anything that is little bit horrifying even with psychological or medical terms is also called Horror but let it be. Even, i don't agree much. So, for me this isn't a Horror film and that's why i am not gonna talk about horror proportions. For that, there are films like 'Nosferatu', 'Dracula', 'Frankenstien' and many others. The Avenging Conscience hardly has any horror element to be scared of. Two or three visualisation scenes and that's all horror you got there. I would love to call it a murder mystery though. Yes, it has more than enough content for that and in my opinion it was pathbrreaking. That scene when an investigator questions the murderer, how brilliantly Griffith has used pendulam voice, tick-tick sound and shivering hands. I mean this was more than 100 years before Christopher Nolan used the similar sounds in 'Dunkirk'? Wow! Prevented from dating his sweetheart by his uncle, a young man turns his thoughts to murder. The guilt and his fear of getting caught leads him to realisation of his conscience and then there's a twist at the end which i won't be spoiling here. Seriously, I was not hoping for the twist at the end and at one moment I was even doubtful about Griffith making such a film. Thankfully, he didn't disappoint and i was all happy after watching the film. A landmark in the genre and much before people got acquainted to such stories.

RATING - 8/10*

By - #samthebestest.

Henry Walthall plays a man whose love for a young girl, played by Blache Sweet, drives him to murder his doting and overprotective uncle. His guilt drives him insane, and in the climactic scene where the detective pushes him to confession, Walthall is so overcome with visions of demons driving him to hell he is on the verge of an apoplectic fit. The most notable things in The Avenging Conscience, in addition to the obvious horrific tableaux and weird scenes of Pan with nymphs at the end, is the way Griffith draws characters in different places together through intercutting and use of props and gestures, i.e. books, pictures, prayer and other things. Perhaps he already had Intolerance in the back of his head while making this oddball adaptation of several Poe works. Also the film appears to have had some influence on other filmmakers; Chaplin's Sunnyside for example, owes something to the bit with Pan at the conclusion. My copy, projected a bit fast, runs only 56 minutes, and clearly there are missing scenes which makes for a choppy continuity. There is a still from The Avenging Conscience in Iris Barry's 1940 bio of Griffith that is from a scene which is no longer in the film. A different still once thought to be from The Avenging Conscience of Griffith directing Walthall holding a pistol to his head was actually taken on the set of Griffith's lost 1914 effort The Escape. The set dressing in The Escape is basically the same as that for the Uncle's home in The Avenging Conscience with a few things switched around, which suggests the two films were shot very closely together, or even simultaneously.

If DW Griffith is fondly remembered at all these days, it is usually for his exhilarating rides-to-the-rescue or the breathtaking pageantry of his epics. Those who have studied his work in any depth will of course know of his fine and subtle handling of drama and romance. However far fewer have commented on his masterful evocation of atmosphere. This, his only entry into the horror genre, a genre that is nine-tenths atmosphere, is appropriately steeped in it.

Griffith was of course a visual storyteller, but he learnt techniques of narrative and exposition from the world of literature. In the Avenging Conscience, he not only bases his story on the work of Edgar Allen Poe, but he juxtaposes the horrific with the beautiful and tender, as did Poe, Bram Stoker and many other Victorian horror writers. This uncomfortable contrast is established from the very first scene. As the opening shot fades in, we are clearly looking at a funeral scene, but then cut immediately to a baby in his cot – innocent life in the midst death. Throughout the picture Griffith shows an unusually high number of inserts which do not directly tell part of the story, but which add layers of terror or revulsion – such as a howling wolf or an owl hooting in the trees. A dreamlike tone is maintained throughout, with few title cards, but some snippets of Poe's poetry that relate to the story only in an abstract manner.

The Avenging Conscience also contains some wonderful examples of Griffith's handling of dramatic depth. He keeps his camera at a respectful distance during the romantic scenes, refraining from facial close-ups until the latter moments, and then only using them sparingly to give them maximum impact. Some might pick at the fact that the camera is always static, and there is little editing within the scene, but in fact this just goes to demonstrate just how much a director can do with movement within the frame. To take one example from this picture – in the earlier scenes at the uncle's house, there is a birdcage with a few canaries hopping around inside it. In later scenes it is covered up, twisting forlornly on its hook. It's a great touch to establish mood, but Griffith doesn't draw our attention to it with a clumsy close-up or lumbering pan; our eyes will be drawn to it because it is moving while other things in the frame are still. Audience members will notice it without feeling like they have been forced to notice it.

Sadly, the few limitations of Griffith's technique do stick out in this one. In particular, his tendency to keep all characters involved in a scene on screen at the same time makes shots (such as the uncle hiding in a bush to spy on the courting couple) look ridiculous. Also, without point-of-view shots, some moments can be a bit confusing, as it is impossible to tell who is looking at what. But these are small worries, and the Avenging Conscience is far more coherent and realistic than the many other pictures of its day.

If Judith of Bethulia was a dress-rehearsal for the massive action spectacles of Griffith's longer features, the Avenging Conscience was perhaps a dry-run for the subtle romantic drama which brought balance to those pictures. But it's also one of the most unique and remarkable shots in his canon, creeping us out with horror imagery five years before Caligari, creating tension out of guilt thirty years before Double Indemnity, with a climax that will startle those who think they know Griffith's cinema.