Broken Blossoms or The Yellow Man and the Girl (1919)

Director:

D.W. Griffith

Writers:

Thomas Burke (story)
D.W. Griffith (writer)

Release Date:

1922 (Poland)

Genre:

Drama | Romance

Plot:

A frail waif, abused by her brutish boxer father in London's seedy Limehouse District, is befriended by a sensitive Chinese immigrant with tragic consequences.

Plot Keywords:

Father | Limehouse | Boxer | Chinese | Buddhism

Awards:

1 win

Cast

Lillian Gish	...	Lucy Burrows (as Miss Lillian Gish)
Richard Barthelmess	...	Cheng Huan (as Mr. Richard Barthelmess)
Donald Crisp	...	Battling Burrows
Arthur Howard	...	Burrows' manager
Edward Peil Sr.	...	Evil Eye (as Edward Peil)
George Beranger	...	The Spying One
Norman Selby	...	A prizefighter

Also Known As:

Broken Blossoms (USA) (short title)
Scarlet Blossoms
The Chink and the Child

Runtime:

90 min

Country:

USA

Color:

Black and White (tinted screen)

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Certification:

Australia:M

Filming Locations:

Fine Arts Studios - 4516 Sunset Boulevard, Hollywood, Los Angeles, California, USA

Company:

D.W. Griffith Productions

Trivia:

Filming took 18 days and nights. Donald Crisp's scenes were filmed at night because he was directing another film during the day.

Goofs:

Continuity: During the boxing scene, when the two fighters enter the ring; Battling is wearing his robe in one shot, and in the next shot it is off.

Quotes:

Battling Burrows: Put a smile on yer face, can't yer?

Movie Connections:

Featured in The Slanted Screen (2006)

Yet Another Griffith/Gish Masterpiece

Like the BROKEN BLOSSOMS of a trampled rose, the pure affection between two unutterably lonely people is destroyed by evil & hatred.

Turning his back temporarily on the Silent epics of his past, movie master David Wark Griffith turned the laser beam of his talent on the tragic story of three pathetic individuals living in the slums of London's Limehouse: a fragile waif, her vicious father, and the gentle Chinese shopkeeper living nearby. No huge casts rampaging through innumerable subplots, no tremendous production values spent to illustrate the sweep & flow of a historical period. Just three people living increasingly desperate lives, brought together by a tidal wave of pure emotion.

Lillian Gish was right thinking she was too old to play the young girl, and she did so only at Griffith's insistence, but it is impossible to contemplate anyone else in the role. She is utterly luminous as the abused child who finds a few moments of glorious affection with the young foreigner from the East. Miss Gish's magically expressive face creates a classic cinema moment when she attempts to smile to save herself from a beating, pushing up the corners of her mouth with two fingers, while her tormented eyes reveal to the viewer her deep pain and fear. Later, in her celebrated closet scene, like a trapped animal she releases an explosion of frenzy which is still difficult to watch, as her attacker uses a hatchet to smash the barrier between them. Miss Lillian had started rehearsals while weakened from the Spanish Flu; she created a movie portrait which caught her genius forever.

Matching her in almost every particular is her costar Richard Barthelmess, who gives a most sensitive portrayal as the Chinese missionary who comes to England to proselytize for Buddha, but instead finds himself alone & friendless in the squalor of the great city. Barthelmess uses his eyes almost exclusively to express what's in his heart, bringing enormous dignity & repose to his role. It is too easy today to criticize a performer for playing an ethnic role, but once, to be able to do so convincingly, was considered the hallmark of a capable actor. Barthelmess does so with both conviction & distinction, bringing the film to a heartbreaking conclusion.

Rounding out the threesome is Englishman Donald Crisp. Although in reality the most gentle and affable of men, he nonetheless made a career during the Silent Era of playing violent brutes, never more despicable than here. His character glories in the terrors he inflicts on Miss Lillian, the viewer loathes him, and his eventual fate is most welcome & well deserved.

The film almost didn't get released. Paramount Pictures boss Adolph Zukor hated it; he thought it too morbid. Griffith raised the operating costs of $91,000 and purchased the film, releasing it through United Artists. Receptive audiences helped it make millions. As Miss Lillian said decades later, "Griffith put tragic poetry on the screen for the first time."