Mjeteconer Just perfect...

Listonixio Fresh and Exciting

CommentsXp Best movie ever!

Gary The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Ian (Flash Review)This started off slow but ended better than expected as it was more emotionally deep or heavy for the era than was it visually impressive. The film opens with a scene in China with a Chinese man with honorable values who immigrates to London. Here we contrast the Chinese man with that of a brutal British boxer who not only uses his fists in the ring but also on his daughter Lucy!! He basically treats her as a slave. I imagine a touchy subject to portray in the 19-teens. While Lucy buys frequent groceries, the Chinese man has the eyes for her even though she has a disheveled appearance. He makes her acquaintance and tries to show her how humane people can act. Once Lucy's father finds out she has been spending time with an immigrant, there'll be hell to pay. What will the boxing father do? Will Lucy ever get happiness in her life? While not the most visually intriguing film, it hit hard emotionally on tough subjects for the time.

Carl Schultz 'Lyrical' is a wonderfully appropriate word to describe 'Broken Blossoms.' The picture is almost like a sonnet in its delicate perfection, poignant almost to the point of melancholy, with a running time that seems much, much shorter than its actual eighty-nine minutes. This is one of Griffith's 'small' pictures, unlike the super-productions such as 'Intolerance' or 'Orphans of the Storm,' or even 'Way Down East.' Still, it's difficult to believe that the intricate and detailed and richly authentic waterfront location was a set constructed to Griffith's specifications for the film.Like most other students of film history, I have conflicted feelings about David Wark Griffith and his legacy of racism and intolerance, as is plainly demonstrated in his watershed picture 'The Birth of a Nation.' But still, I don't know that it's fair to ignore or deny or even question his ability to use the cinematic medium to create drama, establish dramatic nuance, and express emotion, particularly in an art form which at the time was necessarily speechless.'Broken Blossoms' as a film was actually suggested to Griffith by Douglas Fairbanks, who'd read the Thomas Burke source material, the short story collection 'Limehouse Nights.' And according to actress Lillian Gish, who like Richard Barthelmess gives probably her career-best performance in this picture, the film's release was delayed after production and principal photography was completed because Griffith was so emotionally devastated and drained by the filming experience that he couldn't face editing the picture. 'Broken Blossoms' eventually became the very first motion picture released by the new United Artists Corporation, the elite production company formed in 1919 by cinematic superstars Griffith, Mary Pickford, Charlie Chaplin, and Doug Fairbanks.Should you decide to see the picture, try to find the 'Griffith Masterworks' version with the soulful Joseph Turrin music score, which enhances and augments the sadness of the story. The film was popular enough at the time of its original release that a song entitled 'Broken Blossoms' was composed and recorded and became moderately popular. Turrin located a copy of the original sheet music of that lovely song, and performs it on the piano in one of the 'Masterworks' extras.Those extras also include a filmed introduction by Lillian Gish and the entire text of the original Thomas Burke short story. And as an extra and unintentional bonus, watch closely about twenty minutes into the picture, right after the inter-title which reads, "The girl with the tear-worn face": The shot shows Gish looking into a store window, and reflected in the window glass the viewer can see the ghostly image of photographer Billy Bitzer standing behind his tripod camera and then Griffith himself in a vest and shirtsleeves walking briskly onto the set and seating himself in a canvas chair beside Bitzer. The unintended action was a mistake and a production error and as such the moment violates the illusion and therefore distracts the viewer's attention momentarily from the drama, but still it's a fascinating curio of motion picture history.'Broken Blossoms' is highly recommended. Far beyond a picture which will stay with you for a long time, it's a picture you'll never forget...nor quite ever get over.

framptonhollis The word "beautiful" has been used time and time again to describe the D.W. Griffith directed masterpiece that is "Broken Blossoms". To be perfectly honest, it's hard not to describe it using that word for it is, indeed, quite beautiful. Perhaps this is the most beautiful of all silent cinema!Being one of the first films based on a poem, "Broken Blossoms" certainly has a poetic vibe to it. From the story/events that take place to the imagery to the editing techniques, the film feels like poetry, and I feel as if that was Mr. Griffith's goal in a way. To make a truly poetic film (however I, of course, cannot 100% speak for the man he's been dead for years).With some really mature themes attached to it (some sequences containing abuse towards Lilian Gish's character are still hard to watch today), "Broken Blossoms" is ahead of its time in almost every way. D.W. Griffith has been labeled the father of film, and I believe that he certainly deserves that label. As evident in films like "The Birth of a Nation", "Intolerance", and this (much smaller scale) film, Griffith certainly changed the cinema forever. The editing and filmmaking techniques used here are astoundingly powerful increasing the emotional intensity.It's hard for me to imagine "Broken Blossoms" as a sound film, because the silence of it really enhances the beauty and poeticism. Griffith's editing is somehow made more intense by that strong silence, and the emotional impact is greatly benefited.At only 90 minutes, "Broken Blossoms" is short, simple, and simply wonderful.

CJBx7 Directed by DW Griffith. BROKEN BLOSSOMS (1919) tells the story of Cheng Huan (Richard Barthelmess), a young Chinese man who journeys from his homeland to spread the peaceful message of Buddha to the English. After years in England he finds that no one is receptive to his teachings, and he winds up in a small store in London's poor Limehouse district, disillusioned and wasting his life away in an opium den. At the same time we meet Lucy (Lillian Gish), a poor teenage girl who has to contend with an abusive father, prizefighter Battling Burrows (Donald Crisp). A brutal beating sends Lucy fleeing to Cheng Huan's shop, where the two meet and an unexpected love develops, with overwhelming consequences for all three… SCRIPT: The story is basically allegorical and painted in broad strokes. Lucy is a victim, Cheng Huan is a peaceful and sensitive man, and Burrows is a brute with no redeeming qualities. Griffith intended this story to mark a contrast between the pacifistic nature of Chinese Cheng Huan and the violent ways of the supposedly more civilized Anglo-Saxons (specifically Burrows, as well as sailors featured early in the movie). He also shows this contrast when seemingly friendly street preachers in London give Cheng Huan a tract with the stark title "Hell", intended to incite fear of eternal torment.Additionally, BROKEN BLOSSOMS was one of the first positive portrayals of interracial romance. The love that develops between Lucy and Cheng Huan is portrayed as pure and beautiful. This is contrasted with the prejudice and hatred displayed by Battling Burrows. Griffith does deserve credit for portraying Asians in a positive light during the time of anti-Asian Yellow Peril paranoia. One can see that he treats Cheng Huan with genuine respect and admiration. He sketches out the deflation of his idealism with poignancy and compassion.There are, nevertheless, some overly florid and preachy titles (a common fault of Griffith's films) which don't allow the audience to experience the story as completely as we may like, telling us what we should feel instead of allowing our sympathies for the characters to develop naturally. Also, there are some things that come across as offensive now, such as Lucy's question "What makes you so good to me, Chinky?" There really isn't any comic relief or humor to speak of, but the story is quite engrossing despite its flaws. SCORE: 8.5/10 ACTING: The central performances vary in quality. Richard Barthelmess, as Cheng Huan, strives to convey the character's gentle and tolerant nature, as well as his love for Lucy. Unfortunately, the makeup that he has to wear limits his facial expressiveness, somewhat reducing the impact of his performance (well, for me anyway). Undoubtedly, a real Asian actor would have been better for the part, but social conventions of the time made that idea unworkable. However, Barthelmess conveys his character's nature quite effectively despite the disadvantage of his makeup. He carries the lead with grace and sensitivity, ably conveying Cheng Huan's emotions. On the other end of the spectrum, we have Donald Crisp's turn as the sadistic Battling Burrows. I felt that his portrayal was lacking in subtlety, very over-the-top – many of his facial contortions looked like he was practicing for a gurning contest – and even unintentionally funny at times. His character comes off as rather one-note. In the middle, we have Lillian Gish, who comes off the best. Her portrayal of Lucy, the suffering victim, is quite subdued and effective, and she does evoke Lucy's terror during the pivotal closet scene very well. Gish brings a fragility and desperation to the role that makes up for her being a bit old for the part (Lucy was 15 and Gish was 26 at the time of filming). She also beautifully portrays Lucy's reactions at her first glimpse of happiness because of her love for Cheng Huan. The supporting players are adequate for their parts. SCORE: 8/10 CINEMATOGRAPHY/PRODUCTION: To this reviewer, the most outstanding aspect of the film is the cinematography and production. Through well-framed shots, Griffith and celebrated cinematographer Billy Bitzer vividly evoke the story's atmosphere of desperation mingled with fragile bliss. The location settings are quite realistic and detailed. Tinting is used to display the time of day, and it adds to the emotional resonance in some scenes as well. The editing is also pretty smooth. Although not as extraordinary as INTOLERANCE, BROKEN BLOSSOMS shows considerable command of the cinematic medium. Overall, this movie is quite well produced and a truly haunting visual experience. SCORE: 9/10 SUMMARY: BROKEN BLOSSOMS is a notable film in Griffith's body of work for its daring (for the time) subject matter. The story is intriguing and moving in parts, although at times a bit simplistic in others. Lillian Gish and Richard Barthelmess contribute very moving portrayals. Visually, BROKEN BLOSSOMS is striking, richly detailed and hauntingly evocative. BROKEN BLOSSOMS is a definite classic. MOVIE SCORE: 9/10