…and one of my favorite silent films period. It’s not D. W.’s best, that distinction belongs to ISN’T LIFE WONDERFUL. I much prefer BROKEN BLOSSOMS to Griffith’s mammoth spectacles (which are important historically but are overrated when compared to his Biograph shorts and smaller scale films like this one). What I value most about this movie is how it is able to fully create a completely self-contained world and then draw the viewer into it. The soft focus photography of Billy Bitzer, the original score by Louis F. Gottschalk, and the marvelous performances by the three principals enhance the film’s dreamlike quality and bring me back again and again to relive the experience much like the opium users depicted in the film.
Criticisms concerning Richard Barthelmess playing a Chinese character miss the point. The important factor is the character’s nature not his nationality. The same can be said for criticism of Donald Crisp’s turn as the brutal father. His portrayal is deliberately exaggerated for melodramatic effect (he was asked to make the part as apelike as possible) and it later served as the basis for the facial expressions and movements of the original KING KONG. Lillian Gish delivers one of the great silent film performances of all time which clearly shows why she was the first lady of the silent screen.
There are a number of DVD versions of BROKEN BLOSSOMS out there so you must be careful which one you choose. Anything with a budget price should be avoided at all costs. “You get what you pay for” is especially true of silent film video releases. These are public domain copies which are taken from 16mm second generation prints, usually transferred at the wrong speed, and feature a music score that was tacked on without regard to what is happening onscreen. These cheap copies can easily ruin your viewing experience for the reasons listed above.
Right now there are only two releases of the many available which show BROKEN BLOSSOMS the way it was meant to be seen. The Kino version and the Image version. Neither is a complete restoration as none of Griffith’s films have been fully restored. The Kino has a slightly better picture quality and a number of extras while the Image features the original color tinting and score composed for the film which adds immensely to its overall effect. Unless you really love film and want all the extra features, I recommend the Image version for its greater emotional impact.
Although no longer available as a new release, there are plenty of good, used copies to choose from and at a better price too. But no matter which version you choose, just sit back and let this 100 year old film work its magic on you. Think of it as a male version of MADAME BUTTERFLY with a healthy dose of Dickens thrown in. It takes a little work to bridge the gap of time, but if you’re willing to make the effort then you will be amply rewarded.
The Capsule Critic 