The Sorrows Of Satan

It is over-long and repetitious, and without the slightest trace of suspense.

All this is undoubtedly effective as far as it goes.

D.W. Griffith again symbolizes good and evil, meanwhile out-DeMilling DeMille in sets and Bacchanalian revels, plus liberal suggestiveness. For all of that, the picture is overshadowed in story and cast by its superb photography.

Sorrows of Satan has the sense of vastness, chaos, originality, and sudden interludes of unimagined beauty that make Griffith so much akin, in his present stage, to Walt Whitman, the poet.