Broken Blossoms or The Yellow Man and the Girl
"The supreme masterpiece of the screen"
Plot
The film follows Cheng Huan (Richard Barthelmess), a gentle Chinese man who travels to London's Limehouse district with dreams of spreading the peaceful teachings of Buddhism to the West. Instead, he becomes disillusioned by the harsh reality of London's underbelly and opens a small shop. He encounters Lucy Burrows (Lillian Gish), a fragile 15-year-old girl who is brutally abused by her alcoholic father, Battling Burrows (Donald Crisp), a brutish boxer. After finding Lucy unconscious from a beating, Cheng takes her to his shop and nurses her back to health, creating a sanctuary where she experiences kindness for the first time. Their innocent, tender relationship blossoms into love, but when Burrows discovers Lucy has been living with Cheng, he drags her home and beats her mercilessly. Lucy dies from her injuries, and in his grief and rage, Cheng murders Burrows before taking his own life, unable to live without his beloved Lucy.
About the Production
The film was adapted from Thomas Burke's short story 'The Chink and the Child' from his 1916 collection 'Limehouse Nights.' Griffith initially wanted a Chinese actor for the lead role but cast Richard Barthelmess, a white actor, in yellowface makeup due to racial casting limitations of the era. Lillian Gish's performance was particularly praised for its subtlety and emotional depth, especially in the 'closet scene' where her character shows terror by contorting her face and hands. The film was shot quickly and efficiently compared to Griffith's earlier epics, with a focus on intimate storytelling rather than grand spectacle.
Historical Background
'Broken Blossoms' was released in 1919, a period of significant transition in American society and cinema. World War I had just ended, bringing profound social changes and a sense of disillusionment. The film reflected the growing internationalism of the post-war era, with its sympathetic portrayal of a Chinese character and critique of Western violence. In cinema, 1919 marked the transition from short films to feature-length productions as the industry standard. The film industry was also consolidating, with the formation of United Artists in 1919 by Griffith, Charlie Chaplin, Mary Pickford, and Douglas Fairbanks, giving artists more control over their work. The film's release coincided with the Red Summer of 1919, a period of racial unrest across the United States, making its message of cross-cultural understanding particularly relevant. Additionally, the film reflected changing attitudes toward violence and domestic abuse, with its unflinching portrayal of Lucy's suffering representing a more realistic approach to social issues than typical melodramas of the era.
Why This Film Matters
'Broken Blossoms' holds immense cultural significance as one of the most artistically accomplished films of the silent era. It demonstrated that cinema could handle sensitive subject matter with subtlety and emotional depth, moving away from the broad acting styles of earlier films. The film's sympathetic portrayal of a Chinese character was groundbreaking for its time, challenging prevailing stereotypes and presenting a nuanced view of cross-cultural relationships. Its influence extended to visual language in cinema, with Griffith's innovative use of close-ups, lighting, and composition to convey emotion. The film also contributed to the development of the 'tragic romance' genre in cinema, influencing countless later films. Lillian Gish's performance set a new standard for naturalistic acting in silent films, particularly her ability to convey complex emotions through subtle facial expressions and body language. The film's commercial success proved that intimate, character-driven stories could compete with large-scale epics, expanding the creative possibilities for filmmakers. Despite its problematic elements, particularly the use of yellowface, the film remains a touchstone for discussions about representation in early cinema.
Making Of
The production of 'Broken Blossoms' marked a significant departure from D.W. Griffith's previous large-scale epics like 'The Birth of a Nation' and 'Intolerance.' Instead of thousands of extras and massive sets, Griffith focused on intimate storytelling with a small cast. The film was shot quickly and efficiently at Griffith's studio in Hollywood, with carefully constructed sets designed to recreate London's Limehouse district. Lillian Gish and D.W. Griffith had a close professional relationship, and she was given considerable creative freedom in developing her character's emotional journey. The famous 'closet scene' where Lucy expresses terror was largely improvised by Gish, who drew on techniques she had developed in stage acting. Despite the film's relatively small scale, Griffith employed his signature techniques of cross-cutting and close-ups to heighten emotional impact. The production faced some controversy over the casting of Richard Barthelmess, a white actor, in the role of Cheng Huan using yellowface makeup, though Griffith maintained he had sought to cast an actual Chinese actor but faced studio resistance.
Visual Style
The cinematography of 'Broken Blossoms' was groundbreaking for its time, featuring innovative techniques that enhanced the film's emotional impact. Billy Bitzer, Griffith's regular cinematographer, employed a soft-focus style that created a dreamlike, poetic quality perfectly suited to the film's romantic tragedy. The film made extensive use of close-ups, a technique Griffith had pioneered, to capture the subtle emotional performances of the actors, particularly Lillian Gish's expressive face. The lighting design was particularly sophisticated, with dramatic use of shadows and light to create mood and emphasize the contrast between the harsh world of Lucy's father and the gentle sanctuary of Cheng's shop. The film's visual composition was carefully crafted, with each frame serving the emotional narrative. The famous 'closet scene' featured innovative camera work that heightened Lucy's terror through tight framing and dramatic lighting. The visual style of 'Broken Blossoms' influenced countless later films, particularly in its use of cinematography to convey psychological states and emotions. The film's aesthetic represented a move toward more naturalistic and poetic visual storytelling in cinema, moving away from the theatrical style of earlier films.
Innovations
'Broken Blossoms' featured several technical achievements that advanced the art of cinema. The film's innovative use of lighting, particularly in creating mood and atmosphere, represented a significant advancement in cinematographic techniques. The extensive use of close-ups to convey emotion was groundbreaking, demonstrating how the camera could capture subtle performances in ways impossible on stage. The film's editing techniques, particularly Griffith's use of cross-cutting to build tension and create emotional resonance, were highly sophisticated for the era. The production design, which convincingly recreated London's Limehouse district on a Hollywood soundstage, showcased the growing technical capabilities of film studios. The film's makeup effects, particularly the yellowface applied to Richard Barthelmess, while problematic by modern standards, were technically advanced for their time in creating a convincing transformation. The film's pacing and rhythm, achieved through careful editing and performance, demonstrated a sophisticated understanding of cinematic timing. The technical achievements of 'Broken Blossoms' contributed to the evolution of film as an art form, particularly in demonstrating how technical elements could serve artistic and emotional purposes rather than merely documenting performances.
Music
As a silent film, 'Broken Blossoms' was originally accompanied by live musical performances in theaters. The film's score was composed by Louis F. Gottschalk, who created a romantic, evocative score that enhanced the film's emotional journey. The music featured delicate, Asian-inspired motifs for Cheng's scenes, contrasting with more dramatic, dissonant passages for scenes of violence and conflict. The score emphasized the film's romantic elements while underscoring its tragic nature. Many theaters also used popular songs of the era that complemented the film's themes of love and loss. The original score was considered innovative for its time, moving beyond the generic accompaniment common in earlier silent films. In modern restorations, various composers have created new scores for the film, including orchestral arrangements that attempt to capture the spirit of the original while appealing to contemporary audiences. The musical accompaniment was crucial to the film's emotional impact, as silent films relied heavily on music to convey mood and enhance narrative. The soundtrack of 'Broken Blossoms' represented an early example of how music could be integrated with visual storytelling to create a cohesive artistic experience.
Did You Know?
- The film was adapted from Thomas Burke's short story 'The Chink and the Child,' but Griffith changed the title to be more sensitive, though still using the problematic subtitle 'The Yellow Man and the Girl.'
- Lillian Gish was 26 years old when she played 15-year-old Lucy, demonstrating her remarkable ability to portray youth convincingly.
- The famous 'closet scene,' where Lucy shows terror by contorting her face and hands, was improvised by Gish during filming.
- Despite being a silent film, Griffith insisted on having the actors speak their lines during filming to ensure authentic emotional expression.
- The film was a commercial success and helped establish United Artists, the distribution company co-founded by Griffith, Charlie Chaplin, Mary Pickford, and Douglas Fairbanks.
- Richard Barthelmess was nominated for the first Academy Award for Best Actor for his performance, though the award ceremony wouldn't occur until 1929.
- The film was considered Griffith's 'atonement' for the racial controversy surrounding 'The Birth of a Nation' (1915), presenting a more sympathetic portrayal of a non-white character.
- The film's success led to a 1936 sound remake directed by John Brahm, though it was not as well-received.
- Griffith originally wanted to cast an actual Chinese actor in the lead role but faced studio resistance and racial casting limitations of the era.
- The film's title was often shortened to just 'Broken Blossoms' in subsequent releases and references.
What Critics Said
Upon its release, 'Broken Blossoms' received overwhelmingly positive reviews from critics, who praised its artistic merits and emotional power. Many critics considered it Griffith's most accomplished work since 'The Birth of a Nation,' with particular acclaim for Lillian Gish's performance and the film's visual beauty. The New York Times called it 'a masterpiece of screen art' and praised its 'delicacy and restraint.' Critics noted the film's departure from Griffith's earlier grand spectacles, viewing this intimate approach as a maturation of his artistic vision. The film's sympathetic portrayal of a Chinese character was also noted as progressive for the era, though some critics still found elements of the portrayal problematic. In later years, film historians have continued to praise 'Broken Blossoms' as one of the masterpieces of silent cinema, with particular appreciation for its visual poetry and emotional depth. Modern critics acknowledge the film's problematic elements, particularly the casting of a white actor in yellowface, while still recognizing its artistic achievements and historical importance. The film is frequently included in lists of the greatest films ever made, and its influence on cinematic language and storytelling techniques continues to be recognized by scholars and critics.
What Audiences Thought
'Broken Blossoms' was a commercial success upon its release, resonating strongly with audiences of 1919. The film's emotional power and tragic romance struck a chord with post-war audiences seeking more sophisticated storytelling. Many viewers were particularly moved by Lillian Gish's performance and the film's unflinching portrayal of domestic abuse, which was unusual for the era. The film's sympathetic treatment of a Chinese character also generated discussion among audiences, challenging prevailing racial attitudes of the time. Despite its serious themes and tragic ending, the film found a wide audience and played in theaters for extended runs. The success of 'Broken Blossoms' helped establish United Artists as a viable distribution company, proving that artist-driven films could find commercial success. Over the decades, the film has maintained its reputation as a classic of silent cinema, with screenings at film festivals and revival theaters continuing to draw audiences. Modern viewers often find the film both emotionally powerful and historically significant, though some elements, particularly the use of yellowface, are viewed as problematic by contemporary standards.
Awards & Recognition
- Selected for preservation in the United States National Film Registry by the Library of Congress (1996)
- Photoplay Magazine Medal of Honor (1919)
- Recognized by the American Film Institute as one of the most important American films
Film Connections
Influenced By
- Thomas Burke's short story 'The Chink and the Child' from his collection 'Limehouse Nights' (1916)
- Victorian melodrama traditions
- Griffith's own earlier work on intimate character studies
- Contemporary literary trends toward realism and social commentary
- The growing interest in Eastern philosophy and spirituality in the West
- Post-war disillusionment and questioning of Western values
- The development of psychological realism in literature and theater
This Film Influenced
- Sunrise: A Song of Two Humans (1927) - for its visual poetry and romantic tragedy