D.W. Griffith is known primarily for three of his biggest and most well-budgeted features and this is arguably the last of said trilogy. Poor Griffith. He came out with something rich in what he called patriotism and others simply tagged racist. So he decided to try something else, and then got slammed for being too lavish, ambitious and preachy. Finally along comes Broken Blossoms, a modest and earthly melodrama based for the most part within tiny, claustrophobic rooms where the weight of grief and suffering outnumber that of the bricks in the walls enclosing its victims. You couldn't be blamed for thinking it had a tenth of the budget of his first film, but you'd be wrong. In actuality his most expensive film to date, it's also perhaps his most ambitious in terms of characterisation and back-to-basics storytelling, albeit wrought with growing-pains as a result. Set in what one could assume is Victorian-era London boiling over with strife and hard times, Broken Blossoms centres around hapless and sullen victim Lucy, daughter of professional boxer Burrows who often gets overly mad (for reasons never truly justified) before proceeding to take it out on his timid daughter in between beating people up for money and then spending said money on alcohol and women. Cue "The Yellow Man", a Chinese Buddhist who runs a shop, enjoys noodles and tea and has nothing to give but peace, love and a healthy dose of Eastern wisdom-slash-actually-it's-just-Confucius-speaking. He falls in love with Lucy, professes his "pure love" for her and Burrows goes pufferfish for a bit because he's a bit of a xenophobe.In terms of film in the modern sense, it's all a bit of a saccharine, melodramatic mishap with very basic characterisation and drama more akin to a higher-class pantomime. However, considering its time and the films that came before, Griffith can't really be blamed for this one. And for the moments where the film does manage to tug on your heart strings through Lillian Gish's various degrees of insanity, desperation and endearing naivety, there's a charm here that many clamoured to see more of when they fell in love with Intolerance's modern-day segments. Various points do go overboard with the melodrama however, such as many moments where Lucy forces a smile whereupon she pushes up the corners of her lips in order to please those who obviously cannot see her tragic, wounded soul. It's this mundanely childish backdrop that spoils an otherwise forward-thinking and genuinely moving film. It's grating and sums up the movie well, however.And yet, for every moment of wistful melancholia steeped in lukewarm, melodrama soup, there's always an overriding atmosphere that broods and overwhelms the movie's more irksome features. From the harsh, foggy London streets to the endlessly amusing fight scenes involving Burrows, Broken Blossoms is very much Intolerance without the historical sidestories or light-heartedness of its central love story, mixed with the character dynamics of Birth of a Nation. It's for this reason that those in the camp of finding Griffith's first major film a little too much to stomach, usually find at least either this film or his previous to be more to their liking. Personally I enjoy the more analytical and grander of the two to this one, but for those wanting more of said film's modern act, it should be no surprise if this is more up their alley. It can be a little broad at times, and often tries too hard to be frail and grim, but there's still plenty to love whether it's in Gish's wonderful performance or simply just in appreciating the stark change of pace from Griffith that favours tone and character over grand historical stories, huge elaborate sets and line-in-the-sand political statements.

An early silent film tragedy, beautifully photographed and directed, and featuring a moving performance from a young Lilian Gish. Set in London's Lighthouse District, she plays Lucy, a girl who is constantly abused by her temperamental boxer father (Donald Crisp). She lives in squalor, and her only possessions are a few coins, some tin foil and a letter from her dead mother. One day she runs away from home into the shop of a china man (Richard Barthelmess). He's worshiped her from afar before, and now he feels the need to care for her, loving her in his own silent way. Though the story is simple and fairly dated (the moving being adapted from the story 'The Chink and the Child'), 'Broken Blossoms' is a beautiful film, showing why silent film is a lost art, the pantomime performances of the three main players being fascinating to watch and emotionally resonating. Sally's attempts to smiling by pushing up her lips with her fingers is harrowing, and her father's physical and mental abuse of her is still effective in it's brutishness. The loving gaze of The Yellow Man as he takes care of Lucy by her bedside in his shop says more than title cards could (though there are some beautifully worded inter-titles throughout).The relationship between the two is delicate and subtle, his intentions for her not being entirely clear. When he tries to kiss her, we see her point of view - seeing him in extreme close up, coming towards her, looking almost as her father did when he stares at her. She moves away from him, and but he's understanding. It's not typical early silent film acting - being exaggerated as possible to get across an emotion to all audience members in the theater - but rather screen acting, mixing film techniques and nuance to convey what each character is feeling. Also effective today is the use of editing and cross-cutting between scenes, contrasting The Yellow Man's life in China with the spiritually corrupted London and its opium dens. The scene where Suzy is hiding in terror from her father in a closet while he strikes the door down with an ax, and the Yellow Man is running to save her is truly suspenseful as well.Nearly one hundred years old, 'Broken Blossoms' is still fantastic, and one of the best silent films I've seen.My blog: www.dynamitefilms.blogspot.com

One of the books on my shelf refers to families as "God's little concentration camps," and this movie perfectly encapsulates that potentiality.Lucy's sole purpose in life seems to be as lightning rod for her primitive father's rages. In London's immigrant-filled Limetown district, Lucy can run but cannot hide from the whip of Battling Burrowes.I'd never before seen Lillian Gish and I'm highly impressed. Who will forget her frenzy in being cornered in that flat, pursued by a maniac with a hatchet (did this scene inspire one decades later in "The Shining")?Nor had I been familiar with the work of D.W. Griffith, but I sure am curious now! I'd never before seen a story in which an acolyte of an Eastern religion sets out for the West to enlighten the heathens there. (Now there's a prescient concept!) Chen Huang, played by the Western actor Richard Barthelmess, creates an odd persona. On the one hand he is a saint who only wants the best for Lucy -- yet there are hints he is sexually attracted to the girl. (When she senses this and recoils, he backs off.) Like a strong perfume, his exoticism keeps one interested. This film brutally encapsulates the unreflective soul, in the character of Burrowes, played so ably and rawly by Donald Crisp. A tiny quibble is the plot twist that shows the slimy friend of the boxer discovering Lucy in an upstairs bedroom. I found this rather improbable. "Broken Blossoms" is devastating to watch and contemplate. How much has changed, really, in the last 100 years?

The silent film, Broken Blossoms, is a very intriguing film. The first thing I noticed was the beautiful setting in China. It drew my attention into the movie. I really liked how simple and happy the people seemed to be. As I continued to watch the movie I noticed the controversial themes taking place, especially for that time period. Drugs, alcohol, child abuse, and interracial romance caused many conflicts for the main character, Lucy. This was interesting because even in movies today we see these same controversies. I enjoyed the different sets that the directors used. The small sets with minimal camera movement really worked well with this story. The dyed film strips really helped to add effect. The ending was very surprising and I did not see it coming at all. I couldn't believe somebody that was so religious would shoot a man. This movie was quite enjoyable.