Agee on Film, Vol. 1 Quotes

“(On D.W Griffith's The Birth of a Nation)
This was the one time in movie history that a man of great ability worked freely, in an unspoiled medium, for an unspoiled audience, on a majestic theme which involved all that he was; and brought to it, besides his abilities as an inventor and artist, absolute passion, pity, courage, and honesty. “The Birth of a Nation” is equal with Brady’s photographs, Lincoln’s speeches, Whitman’s war poems; for all its imperfections and absurdities it is equal, in fact, to the best work that has been done in this country. And among moving pictures it is alone, not necessarily as “the greatest” — whatever that means — but as the one great epic, tragic film.”
― James Agee, Agee on Film, Vol. 1: Essays and Reviews

“I wonder whether certain dreadful events, of the sort this picture is full of, are not so incalculably rich in the possibilities of moral and aesthetic blackmail that they can never be represented maturely or even un-deceitfully, and so had better not be represented at all...Indeed, few films ever made have so vigorously seized the spectator by the throat and so implacably insisted, with one unprincipled bang over the head after another, that he turn himself into the wildest animal possible, and mistrust and hate with all his might any lingering question which troubles him about his obligations to do so.”
― James Agee, Agee on Film, Vol. 1: Essays and Reviews

“... Play the age as comedy if you want to get away with murder.”
― James Agee, Agee on Film, Vol. 1: Essays and Reviews

“(On D.W Griffith's The Birth of a Nation)
he was a great primitive poet, a man capable, as only great and primitive artists can be, of intuitively perceiving and perfecting the tremendous magical images that underlie the memory and imagination of entire peoples. If he had achieved this only once, and only for me, I could not feel that he was what I believe he is; but he created many such images, and I suspect that many people besides me have recognized them, on that deepest level that art can draw on, reach, and serve.”
― James Agee, Agee on Film, Vol. 1: Essays and Reviews

“One crude but unquestionable indication of his greatness was his power to create permanent images. All through his work there are images which are as impossible to forget, once you have seen them, as some of the grandest and simplest passages in music or poetry.

The most beautiful single shot I have seen in any movie is the battle charge in The Birth of a Nation. I have heard it praised for its realism, and that is deserved; but it is also far beyond realism. It seems to me to be a perfect realization of a collective dream of what the Civil War was like, as veterans might remember it fifty years later, or as children, fifty years later, might imagine it. I have had several clear mental images of that war, from almost as early as I can remember, and I didn’t have the luck to see “The Birth of a Nation” until I was in my early twenties; but when I saw that charge, it was merely the clarification, and corroboration, of one of those visions, and took its place among them immediately without seeming to be of a different kind or order. It is the perfection that I know of, of the tragic glory that is possible, or used to be possible, in war; or in war as the best in the spirit imagines or remembers it.”
― James Agee, Agee on Film, Vol. 1: Essays and Reviews

“(On D.W Griffith's the birth of a nation - 1915)
He achieved what no other known man has ever achieved. To watch his work is like being witness to the beginning of melody, or the first conscious use of the lever or the wheel; the emergence, coordination, and first eloquence of language; the birth of an art: and to realize that this is all the work of one man.
We will never realize how good he really was until we have the chance to see his work as often as it deserves to be seen, to examine and enjoy it in detail as exact as his achievement.”
― James Agee, Agee on Film, Vol. 1: Essays and Reviews

“The passion for vengeance is a terrifyingly strong one, very easily and probably inevitably wrought up by such evidence [of atrocities], even at our distance. But however well aware I am of its strength, and that in its full immediate force and expression it is in some respects irrelevant to moral inquiry, I doubt that it is ever to be honored, or regarded as other than evil and in every direction fatally degrading and destructive; even when it is obeyed in hot blood or in a crisis of prevention; far worse when it is obeyed in cold blood and in the illusion of carrying out justice.”
― James Agee, Agee on Film, Vol. 1: Essays and Reviews