I like the storyline of this show,it attract me so much

Excellent, a Must See

Am I Missing Something?

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Producer: David Wark Griffith. A David Wark Griffith Production. Executive producer: David Wark Griffith. Copyright 31 March 1919 by David Wark Griffith. Released through United Artists. New York opening at the George M. Cohan Theatre: 13 May 1919. 6 reels. SYNOPSIS: In the Limehouse district of London, a young Chinese storekeeper temporarily rescues a young girl from the brutal hands of her father, a professional boxer. NOTES: Negative cost: $88,000. Initial worldwide gross: approx. $1,400,000. The number one money-maker at U.S./Canadian ticket windows for 1919. Also number one in Great Britain. In Australia, however, Broken Blossoms was beaten into third place by Raymond Longford's The Sentimental Bloke and Franklyn Barrett's The Girl from the Bush. Griffith was signed to direct a 1936 British re-make but bowed out after a disagreement with the producer. His replacement, Hans Brahm, directed Dolly Haas, Emlyn Williams and Arthur Margetson. VIEWERS' GUIDE: Most strictly adults. Even this adult who has seen any amount of brutality on the screen, could not bear to watch two extremely horrifying scenes. COMMENT: Visiting a first release, capital-city cinema back in 1919 would have been a truly wonderful experience. The lights dim on the opulence of the auditorium, a spotlight picks out the conductor as he strides to his rostrum above the orchestra pit just under the screen. The orchestra strikes up, the curtains part... Three or four shorts, including a newsreel, a cartoon, a travelogue... After Interval comes the main attraction, beautifully photographed, exquisitely tinted, accompanied by an especially composed orchestral score, played live by thirty or forty brilliant musicians. Fortunately I can now re-live one of those 1919 nights with the David Gill/Kevin Brownlow transcription of the D.W. Griffith classic, Broken Blossoms. Not only has the film been beautifully restored, and presented at correct speed in all its original powerfully effective tints, but it is accompanied by the original orchestral score (albeit adapted and arranged by the present conductor Carl Davis). What a wonderful revelation! The story, the acting, the emotional impact seem thrice as powerful in this guise. Too overwhelming in fact. The sensitiveness of the acting from Richard Barthelmess' tragic Yellow Man and Miss Gish's terrifyingly pathetic Lucy to the ring rough-and-tumble with Norman Selby (the legendary Kid McCoy himself), has been commented upon so often and with such clarity and at such length, it needs no additional commendation from me. The same goes for Griffith's justly acclaimed direction and Bitzer's creatively atmospheric lighting. One comment though. I have Thomas Burke's book. It's one of the few treasures in what used to be a vast library but which financial necessity has trimmed to the bone. I would not part with Limehouse Nights. My edition is a seventh reprint (which shows you how popular Burke was) so it's not at all valuable in monetary terms. All the same, it's worth more than $1,000 to me. Its tragedies and mysteries, written with the skill and sensitivity of a master poet, can be read and re-read for their warmth and fire, their understanding and compassion, their realism and irony, their beauty and terror. Suffice to say that, with the exception of some felicitous expansions and three or four slight changes, the plot, characterizations, setting, mood and atmosphere of the movie are remarkably faithful to the book.

Broken Blossoms is arguably the best film that D. W. Griffith made. Although it is a silent film, it has an engaging story that does not suffer from a lack of dialogue. Furthermore, unlike Birth of a Nation, it has a message of racial tolerance that still resonates today.The film follows the course of a man from China who travels to the West. Perhaps because of the controversy surrounding Birth of a Nation, Griffith goes out of his way to depict the immigrant in a positive manner. Unlike the story it is based on, in which the immigrant is a typical dissipated sailor, Broken Blossoms has its protagonist come to the West in order to spread the peace and good will of Buddhism. Indeed, all the European characters, with the exception of Lillian Gish, come across as savages compared to him.Broken Blossoms benefits from several good performances. Although she is rather old for her role, Lillian Gish manages to convey a sense of innocence and vulnerability. Donald Crisp is suitably intimidating as her abusive boxer father.The film also deserves kudos for being well ahead of its time. Not only does it have a relatively progressive stance on race and immigration (keep in mind the Chinese were barred from immigrating to America at this time), but it also deals with issues of child abuse. The depictions of Crisp's attacks on Gish are genuinely harrowing, with at least one scene seeming to imply that sexual abuse is going on.For all its good points, the film has some flaws. Although Griffith specifically called for color tinting to be added to the film, it seems more a distraction then a benefit. Furthermore, the use of a non-Asian actor, Richard Barthelmess, to portray the immigrant is embarrassing in hindsight, and undermines the film's overall message of tolerance. Nevertheless, Broken Blossoms is still a film masterpiece that is well worth seeing even ninety years after it was made.

As someone who has very little exposure to silent films (I know they are the basis for our cinema today), I know I'm probably sounding somewhat ignorant, but I just didn't care for it much. I found it kind of hard to get into. It was somewhat hard to follow in certain places, I felt like if you turned your head way for a second you kind of get lost. Definitely a movie you have to pay attention to. Im not a big fan of the way the movie was narrated by subtitles so often, I think it would of better more interesting for the viewer to be able to see that unfold for themselves. The one thing I can say overall that really grabbed me was the details in the sets. Great artefacts, like the Chinese pipes , decorations etc. The buildings in all scenes are extremely convincing. Great effects like with the fog and use of light. But overall I just didn't love the story for some reason. All though his love for Lucy was very touching.

An intimate portrait of Cheng Huan (Richard Barthelmess), a kind hearted Chinese man, and his love for a poor abused girl named Lucy Burrows (Lillian Gish), as well as the brutality of Battling Burrows, a sadistic prizefighter.The visual style of Broken Blossoms emphasizes the seedy Limehouse streets with their dark shadows, drug addicts and drunkards, contrasting them with the beauty of Cheng and Lucy's innocent attachment as expressed by Cheng's decorative apartment. Conversely, the Burrows' bare cell reeks of oppression and hostility. Film critic and historian Richard Schickel goes so far as to credit this gritty realism with inspiring "the likes of Pabst, Stiller, von Sternberg, and others".I found the expression of Chinese thought to be remarkable. At a time when Americans feared the "yellow peril", this paints the Chinese as peaceful and loving, in contrast with a violent America. Cheng is like a saint or martyr, taking his convictions as far as they can be taken.The "closet scene" is the most discussed part of the film, and Gish's performance as "a tortured animal" in this claustrophobic space is what makes the film memorable, and even considered by some to have horror elements. Ivan Butler, for example, claims the scene "produces an overwhelming effect of claustrophobic terror".Historically, the film is also important because it became the first film released by United Artists, the production company formed in 1919 by Mary Pickford, Charles Chaplin, Douglas Fairbanks, and D.W. Griffith. As any student of film knows, this company is going strong today (2010).I absolutely recommend this film to anyone who appreciates silent film. In an age dominated by German directors (Murnau, Lang, Wiese) and their Expressionist tendencies, this is a breath of fresh air.