It is a performances centric movie

Best movie of this year hands down!

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Great movie by the pioneer D.W. Griffith. It is beautifully filmed (including the quite realistic boxing footage) and has really amazing performances by Donald Crisp as the violent alcoholic misogynist boxer Battling Burrows and Lillian Gish as her suffering daughter Lucy (white Richard Barthelmess, though, does not convince so much as the "yellow man" from China). Although with a naive idea of an always peaceful Eastern spirit, it denounces xenophobia and - very curiously - racism. Besides that, by portraying domestic violence it also denounces misogyny. The story begins in a slow pace showing the contrast between calm Chinese people and brute Western sailors. Years after the "yellow man" comes to London slums, he knows a charming girl whose life is a hell, as her father alternates between boxing, drinking in the bar, and beating her at home. Then, what had began monotonously is turned into a storm. I have not watched "Intolerance" yet, but this is my favorite film by Griffith, author of infamous "The birth of a nation", by far (I have also watched "A Corner in Wheat").

. . . who needs enemies? Actress Lillian Gish as the London waterfront motherless waif Lucy, a.k.a. The Girl, is constantly begging her brain-damaged-from-boxing dad NOT to whip her to death, saying in the same breath (subtitled, of course) that he might hang if he does her in (boxing has been known for centuries to cause its adherents to do irrational things, such as practicing public cannibalism and demanding facial tattoos). Taking advantage of the mentally deficient father, a possibly illegal immigrant installs the under-aged female in a love nest above his specialty shop on the sly. The hatred of Londoners for off-islanders can be traced back at least as far as the Roman Invasion, so it is no surprise that Lucy's smashed-noggin father is crazed when he finds out what an older man who should have known better has done with his under-appreciated offspring (a real workhorse around his squalid flat; you never value what you have until it's gone). The addled brained dad quickly whips his daughter to death, and the alleged Buddhist pacifist missionary grabs his revolver (!!) and does in the dad before killing himself. For those of you born AFTER director D.W.Griffith foisted BIRTH OF A NATION & BROKEN BLOSSOMS upon America, it is important to remember that he cut his movie-making teeth (beginning in 1908 on RESCUED FROM AN EAGLE'S NEST) at the notoriously wrong-headed, racist, and obstructionist Edison Manufacturing movie making muck hole.

Upon first viewing this film, needless to say that I was a little more than put off. As this was the second silent film I had watched this week, and only the second ever, I was disturbed by what I can only imagine are common trends among movies of the silent film era: misogyny and racial bigotry. As in Charlie Chaplin's "The Circus", the role of the heel is played by a brutish father who mercilessly, and without any sense of remorse, admonishes and physically abuses his daughter. This is an interesting concept in the sense that this movie was made in 1919, and Chaplins in 1928, during the height of the woman's suffrage movement in America. At a time when women were striving for equality in the voting booths, it seems as though what they really should have been working towards is equality in films. The fact that all the characters in the film except the "yellow man" regard the fathers blatant abuse of his daughter with such a cavalier attitude speaks volumes as to what the prevailing thoughts on a woman's place in society should have been. That being said, overall, the movie was captivating, albeit a bit slow in getting the story moving. ]A second particular notion worth mentioning is the way in which the characters of different races regard each other. All the "yellow man" wants to do is spread his Buddhist beliefs of peace and good will to the savage Anglo-Saxons, while later on in the film a priest says that his brother is going to spread the "good word" to the oriental heathens. Such obvious disdain being portrayed on the screen is no doubt in some way indicative of the real feelings regarding foreigners that most whites had. Additionally, if you prescribe to the maxim that art imitates life, then this notion of accepted racism is even more plausible. All in all, this was an enjoyable movie apart from what was at times blatant racist dialogue and action.

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.