Exhibitors Campaign Sheet

D. W. GRIFFITH’S “BROKEN BLOSSOM

Released Through United Artists Corporation

FOREWORD TO THE STORY gallery of film presentations that the gigantic action so much better Mr. Griffith’s big features has _ To what end is our s' ~ - have enjoyed at the . than the regular drama could do these less than $150,000 to produce. Sev¬ to be beautiful—there is .. A special program has been prepared, things, that all of us producers went eral of them have cost much more. It ' moral in including the music which Mr. Griffith T D. W. GRIFFITH’S giftie gi’e us, to see oursel’s as Ithers se_ rather mad about battle scenes anfl is Interesting to note that whilele f personally arranged and some of which mobs and violent action. I think thaft s” wit- ... Presents s a little of Battling Burrows. We may see in his he composed. All in all, we look for¬ as the art of the camera has become ward with keen anticipation to the more ductile in the hands of the pro¬ est production Mr. Griffith ever has 1 •.’s presentation of the ducer we have come to see that the turned out, it cost more to produce f “BROKEN BLOSSOMS” Griffith masterpiece, for a film that has real strength of the motion picture than “The Birth of a Nation,” with Adapted from a story l»y Thomas Burke -— sensationally successful else- drama“- lies ’lie simpler emotions, its cast of hundreds and its horses, I the Child." y b® t0 the hlgh d®cency of the Chink and assured of more than a hearty j- my pleasure to battle scenes, mob scenes and what- ' Personally Produced by DAVID WARK GRIFFITH welcome And again, the lesson for our much vaunted civilization hnldine- itself depict in “Broken- Blossoms."—lossoms.” Some not. The lighting effects alone in j THE CAST superior to that of other nations, looking in scorn on this o?’that cmzen o? ^IS^^Sna before very long, there 'Broken Blossoms” cost more than j going to be a much closer harmony _ $30,000 and twenty-five electricians i The Girl ..Miss Lillian Gish * foreign country, forgetting that practically every moral precept we know tween the spoken and the voiceli were at work on it for weeks to get J fimfus^the'chinese'phflosop^ieu^3 b6f°re °Ur from*thl David Griffith Speaks drama, whether that harmony ’ the effect Mr. Griffith wanted. The J “Battling” Burrows .Donnld Crisp brought about by myself production being a Chinese one, the * , h?v„-— °^l? bL",Lv o*b‘““ha»l£“in£, °,f-?,-P*■ «x pcaueeaCim u uaiyeaty byuy a lewfew Dersonspersons in Paris ^can other producer. For I c___ costumes represent a big item of -n the real educatio! pense. while the Chinese furnishings, l The Chiuuiuan .Richard Barthelmess hearts of humanity brotherhood the lesson of understanding of our natioh that is coming to hav>. -the—-majority of them imported, ecst-fc thousands of dollars. Evil Eye.Edward Pell When a woman says: "Oh, I feel great; I have Just had a grand erv'“ soms” As He Sees His Photo¬ more real force than the factor of motion-pictures v. hich enters so large¬ A Prize Fighter .Norman f=»lby iV_,sJle bas found a scientific truth. The nervousness, the play—A Hint Also of Ambi¬ ly into the life of our people. unrest, the tired, jerky uneasiness mental and physical machinery is tions and Faiths for the “For myself I may say that I am The Spying One.George Bernnger washed away and our souls made fresh and 'cleaiT'byTears glad and pr.oud t lat it has been given thn.=fT?1V!aly th£ neatest songs, verse and stories that have lived have been Tt10n^Sf tears- ,N° trite, insipid, play or story can accomplish this purpose. Future. me to fit so' wonderfully into the The Real Lillian Gish It needs something compelling, deep and strong to take away your thoughts changing times we live in. I have SYNOPSIS from yourself. Unless your mind Is diverted from itself it will not get the That the leadership in the art of the come to see that in the motion-picture “I would be terribly nervous were Anything that will do this gives your brain cells a rest from their silver screen belongs to David Griffith I_ ---have been sgiven___instrument -- *--*-' that I to become a star and be exploited r dutii since his creation of “Broken Blos¬ shall work a tremendous influence on he nation in th* years to come and everywhere. So much is expected of Tll‘^,1 LclLl^C -"We* 'Swan: soms,” which !; soon to be shown at a star, for the public is of such ex¬ "Old Folks at Home,’ Theatre., is almost great, ambition of my life is The episodes of “Broken Blossoms” involve three persons—Battling rr‘Lo'7ig, Long Trail '—1.„ 1 those of so to direct acting and changing tastes. Fortun¬ pathos. The greatest, t popular plays, from “Hamlet1 "Camilla, —- —r- The beautiful and ately for me, my experiences have Burrows, a bully of the London slums; a young Chinese poet nnmed colorful entertainment he has devised been - c' the most ploasant Jcjud^iiDd, from the pitiful story by Thomas Burke and pu people have been good enough to say - Cheng Hvbd. who has come out of the Far l^ast to spread to other These sweet stories of tears wash away your own little troubles by letting "The Chink and the Child," will help many nice and encouraging things peoples the doctrines of brotherly love, nml Lucy, a girl of fifteen who you view the imaginary sorrows of others in play or book or verse. people to understand something of the about my work in 'Broken Blossoms.’ ” when hut a mere liahe, was thrust into the arms of Battling Burrows—n So, we leave you to "Broken Blossoms.” high ideals for which Mr. Griffith Thus spoke Miss Lillian Gish—the bundle of white rags—the gift of one of Battler’s girls. strives, and the respect and ambition real Lillian Gish. And to show the' in which ho holds an art for which he simplicity of her taste and the modesty The scenes are carried from China into the crooked alleys of Sayings of Confucius has already done so much. D. W. Griffith Dis¬ her wishes, she was induced ' Neither courtesy nor music avail a man if he has not virtue and lov< T think,” he says, "that one of the speak of her work under D. w. Grif¬ e dlstr The good man considers what is right; the bad man, what will pay. first duties for a man who deliberately cusses His Methods fith’s direction, a work that found itsi it of temper, the Battler, a prize lighter, There are three things which tft- virtuous man has to guard against; in tries to bring home a new art to the first real expression in “The Birth th, lust; in full manirowlpririre; and in old age, covetousness. And Ambitions * |^f■"s * Nation.", and which, has been s his rage upon this piteous child. Her starved, bruised little I hate the manner in wl ich people take away the lustre of vermilion. I 3 of t_ity which__ • watched;d by a devoted public through creeps sorrowfully around the crooked alleys. Concerned with Its those who with their sharp mouths overthrow kingdoms and families. nature and reach so far back numerous other Griffith prod .etions __s little who makes ______sins, Limehouse has no time to bother about Lucy or her sorrows, . “■ - nation's laws, if I have the making of its ballads. mysterious history of man. Literature The popularUy of D. W. Griffith’s --- v.- -0 splendidly III A son ought to study his father's wishes as long ___ i'~~ father. lives, and cannot express these wholly; nor mu¬ "Broken Blossom's,” which is creating a in that remarks t sensation there is one who does care. As Lucy creeps down through the after the father is dead, ,he should study his life and respect hi sic, nor painting, nor sculpture; but well-recognized furore throughout the “Broken Blossoms’ . hndowy alleys there is one who looks after her with a sort-of holy all these arts, in some phase of their country will be shared by local patrons Theatre. deration. This pitying one is the young Chinaman. His highest hopes being, may be used as aids in the new Aft Appreciation when this superb creation is shown at "Mr. Griffith trains all of his play¬ eaten down, all that remains to him of beauty and of light is his By HARRY CARR medium of the photoplay and bring it the . Theatre next . ers how not to act. That is the very step by step the nearer-p ___erfection. . The explanation of his methods, where¬ first thing he insists upon; We must fistful, almost saereil love for this helpless child who passes by his Editorial Writer "Los Angeles Times" Thus it is that, gradually, and care¬ by he is able to, accomplish such won¬ move through our parts just as we May 9, 1919 fully feeling my way, I have been able ders, was given by Mr. Griffith to a would in real life. There must be n-s- D. W. Griffith’s latest work, “Broken Blossoms,” wa» told in pictures because I hope, to bring the musical score into New York interviewer. artificial expressions and no posing. One day the Battler be > wordS delicate ( _ exquisite enough t ! told it. For, after closer harmony and touch with the “In the first place, I think that a Mr. Griffith teaches that to express an and her fainting, broken more obvious message that my screen motion picture Should have a.big idea. emotion you must feel it: then the ex¬ and falls in through the Chini... all, words e crude and_ cold, conveys.” Tenderly he gathers The right windsnds swayingswaying >>h e he.v- of an old temple might have suggested In ‘The Birth of a Nation’ the big pression will be real. Mr. Griffith is the little one in liis arms and bears her “1 to bis lonely room, the story. Incense smoke curling upward In wreaths of mauve and “gray frornv "Then - vpu_ believe that the screen idea was patriotism, the silent, hidden, a dreamer who makes his dreams come There he bathes her wounds. With a qu cy he dresses her in a dim old altar might have suggested it; or the amber notes of a flute across has a message?” tierce loyalty to America which-lr.Tly -trim. And his __id.egjs of truth - »-» „ wonderful old silken robes and tends her the waters of a shadowy lake. But the story of "Broken Blossoms” never can “What art has not a message?” was in the heart of the most commonplace, beauty are contagious. It is'mOr'e cat" ' ■ lion (iMt n “Object might bestow upon a wounded princess'. be told in words. his reply. "Up to the present I think the most selfish of her citizens. In ‘In¬ fieult not to understand him than it It is a drama of pity and oi death. It is the almost forgotten art of that we producers of entertainment on tolerance’ , the idea is the passion for is to understand him. His very sim¬ n the prize tighter oursis into g-“rt- tragedy. It has the sweet, solemn sense of the inevitable, the slow dread tread the screen have been led away more personal, .individual liberty, the nat¬ plicity of method and his quiet di¬ trons paws. Through the cloaking'mist or less along the paths of a stern and ural impulse to resist oppression. That rection make for complete harmony be¬ the cringing little figure being dragged of fate, the gentle melancholjLctf tji^death of a beautiful day. back to her doom. Some terrible instinct tells the child tlint this lient- It is a simple story . as s mple as love and death. In some measure often unlovely realism. Experience is same feeling is what is setting ~~ tween his players and himself.” bringing me to see that if we are to many races seething today. **It Is' alive will be the Inst. She tries to escape into n closet, but n ruthless "The Chink and the Child,’1'a stor • by [Thomas Burke, suggested it Next to her admiration for Mr. Grif¬ hntehet beats dow the bni i great painting might i suggested by a Dickens character. be indeed artists our finished art- and lively everywhere. fith and her love of her work hf Girl Mies T . ill i svnVrH __ es a place in the very forefront of product must not only be true, but be “In the motion picture, beauty is the films, Miss Gish is devoted to her The Chinaman ■nines too lnte t ■ scene; lie finds inly a > modern tragediennes. r finished artistry is that the shrinking, lovable; we must not only be able to second great essential. The thing that library and her treasured books. With broken little figure her last lonely wistful n still on her dear lips, horrified, sobbing child ,MII... Her terror of the death_ that_ waits. _ convince but to enchant. It is not to is the matter with the lives of people mother and sister Dorothy she With n deadly cab , as one who performs an ac t of holy sacrifice, the is never the terror of a woni'an; it is evjer the agonized fright of a little child. the screen that any motion picture Is not acute suffering, but colorless lives___" pretty white_ house in Holly- the pitiful figure in bis arms nml carries it back producer can hope to reproduce the monotony. Incidentally, that is what wood, Los" Angeles,'-'— and *spends her The characterization of thesChlna nan ii delicately drawn by Richard Barthel- ,__ reaDonald Crisp, who fully realizes the pitiless brutality of this bully of the London souls. All we may hope to do is to ductions, too. People who lead dull and motoring. hands, he bids b lyer to a little figure of picture such phases of life as we may lives, and they are in the great ma¬ Ve^y few motion picture fans know of the shattered dreams with a dagger There is a point beyond wbi«h .motioimotion pictures cease to be merely pictures be impelled to select, so that these jority, love to imagine themselves the that . Mrs. Mary Gish, __ and become great voiceless art-. SuOtnds'feels “Broken Blossoms.” things shall be more beautiful to men’s heroes and heroines of crimson scenes. of the popular Gish sisters, who There_ are_ those who. jwilfrfseo in -this1 s drama merely a piteous tragedy of eyes; more thrilling and inspiring to But, unassisted, their imaginations are paved - way.. -w*for her daughtersuauguccbB to what of the end of Battling Burrows? He t sweetness and poignance..* But' ttere are artists who will see subtle but power¬ the soul. You rem mber what Robert not strong enough to construct such become prominent in the world of the with five bullet holes in bis body, C ful symbols in the very ffimplrqi'jijMw this narrative of sorrow. They will see Louis Stevenson said ’We admire splen¬ roles. That is why they are admired movies. Mrs. Gish was left a widow took the broken little girl to her Inst i Cheng Huan as a sort oft’Chipese-EJlj: Galahad, the knight of the pure heart; did views and great pictures; and yet on the screen. in Baltimore when she was but twenty- and in Battling BurrowsjsJhe visualization of brute materiality. And as in the what is truly admirable is rather the “At the risk of contradiction, I will three years of age. Some montiis -1 of all great works vbf art, tfteYe is doubtless more there than the artist mind within us, that gathers together say that people like to see tragedy. I after the husband and father had pas¬ himselfself knew. these scattered details for its delight, don’t believe they go to the theatre sed away Mrs. Gish was in New York. incline is so steep that no white per¬ regarded as technically wonderful and makes out of certain colors, cer¬ mainly to laugh. The reception of She had her two girls with her, tiny son living in Hong Kong ever cares Thomas Burke, who wrote “Lime¬ Exploitation Suggestions tain distributions of graduated light most of my pictures testifies that. But little blondes with curly locks, and to walk it, but is carried up in chairs. house Nigh'3,” from which Mr. Grif¬ and darkness, that intelligible whole finally, as the great desideratum, there You have bookedV'“BrjShen BJossoms,” not blindly, but after the wonder soon became a problem what should he Every day there is a steady proces¬ fith has chosen the story of "The which alone we call a picture or a must be perfect acting. Let me state done for their support. One day a sion of Chinese workmen carrying and power of this (SriffiOi masterpiece have been demonstrated in different view.’ It is precisely in that way, I that the most gigantic, spectacular Chink and the Child,” to illustrate his strategic points throughout theifcountry. You have booked a production that friend of hers mentioned a popular building material up the hill. Across philosophy of l--—lity, religion think, that all art speaks to us by sug¬ scenes I have produced have not given stock company. “Why don’t you try for their shoulders they balance a bamboo has probably had mqrg Nationwide publicity, that has aroused more discussion gestion; by the stimulation of our bet¬ me as much work as the requiring of. ’somethin) and art, speaks often of that rather and that has had more^universal tributes than any film we know. there?” the friend asked, pole, at each end of which.is a basket dreary district hard by the East India ter qualities. The true realists are the members of my casts to act naturally. Mrs. Gish was astonished. “I never heavily laden with brick or sand. In order that you'iiiay' make the most of this opportunity, we are venturing artists who spend their talents in Naturalness in acting forms the hu¬ have been __ __ “ London, where gather the a few suggestionsjfor which we urge your serious consideration. In the first “ the stage,” she respond It is not a light thing that men so strange ____““ people _from _all parts searching out life’s joys and showing man touch, wtfliout which the photo¬ ed. “That doesn’t matter,’ _ the heavily laden should be forced to take place, bear in mimT'.that “Broken Blossoms” will absolutely make new patrons -‘ us where those joys re¬ play is worth nothing more than a of the world. The streets, that are peo¬ for your theatre. It will “appeal to many thousands of people who are not assurance; “all you need is the job. a single unnecessary step and yet, pled with these characters, the Lime¬ side. scenic display. Recently we worked The result of it was that Mrs. Gi3h groaning under their back-breaking picture-goers. 11 'giYes . you ■ th e opportunity of demonstrating to these people 'And what of the future of this mo¬ hours trying to get a girl house Road, the Mile End Road, Pen¬ that motion picture entertainipent has come into its own and that no one need applied for the “job” and, of all won¬ loads, if a little Chinese child—c nyfields and the rest, were once low- tion picture art?” naturally. We wanted just . simple, ders to her, she was accepted. From a white child for that matter—gets in longer look upon films as' unworthy of the highest standards of dramatic art. ”1 firmly believe,” Mr. Griffith an¬ human smile, and yet, no matter lying swamps that have been wrung, Do Not “Circus” “Broken Blossoms” very humble beginning she was ad¬ the path of one of these men, he will —in the courseonnrse cef years, from the grip swered, “that the motion picture will we did, it seemed to elude us. I nare vanced to better parts, and her work step aside, load and all, and if he You can count upon the support of every motion picture enthusiast in the come to be regarded as much more not yet succeeded in these human of the misty river; So'it isthat'w“hen country. Regular I’fans” and occasional patrons of picture theatres have heard provided a good living for herself and greets the child at all it will be with a elsewhere the skies are fair, this dis¬ than a mere entertainment—such en¬ touches to my satisfaction, but I an her little golden-haired daughters. : smile. In London’s East End, such trict is wrapped in fogs, fit cover for all about "Broken Blossoms” and want to see it. But now you have' the chance tertainment, I mean, as the modern hopeful at the progress made." But a very few years after tlfat to go beyond your usual audiences* and reach out for new patrons to whom musical play or vaudeville turns are. children could expect to hear nothing the deeds i _hatred and_ cruelty that films have not yet been properly introduced. the beautiful little Gish sisters were but foul curses. so often take place there. My newest picture ‘Broken Blossoms’ taken to the old Biograph studio tin To understand something of the May we urge that your entire campaign and presentation of the film be has been spoken of by some not very Fourteenth Street, New York, by - Now it is one thing to see and t keyed up to the utmost class, refinement, dignity* and art; in other words, do deep thinkers as a gloomy production. truth of such a contrast as this is perience a fog; quite another to photo- not cheapen the wonderful possibilities that you have in "Broken Blossoms” by The Commercial Side other than our own Mary Pickford, a necessary to comprehend at their full¬ SUaph it. In a still photograph a fog If I thought that I would take the pic¬ neighbor. The first picture in which est artistic value the nuances of “Bro¬ effect 'may be gained by under-de¬ "circus” or "ballyhoo” methods. ture off tomorrow, for I wish to spread they appeared was called "An Unseen This does not mean that you should advertise less extensively. On the con¬ the gospel of joy, not gloom. But I of Motion Pictures ken Blossoms” and the striking moral velopment, but it is obvious that for trary, in “Broken Blossoms” you have so enormous an opportunity, that you Enemy.” It was a “two-reeler” and New York City in the George M. soms’ to find, to search out for them¬ the world. He hears, too, of the unle- her remarkable talent as a screen ac¬ There is a big mystery at the...... Cohan Theatre, on Tuesday evening, May 13th. 1919, and the motion picture selves, in the pure love story and be¬ lievable salaries paid to prominait tress in her performance of Lucy, the Theatre. Mr.the manager, trade papers of about that date all contain detailed descriptions of D. W. neath the superficially drab tale of stars of the films—salaries that prbr ” ild in "Broken Blossoms,” D. W. cannot solve it; the orchestra leader, Griffith’s form of presentation. , Thomas Burke, the lyric beauty and to the introduction of the movies ne'er Griffith’s art sensation, soon to be has become haggard over it, and even Music joy and sympathy that underlie it all. had been dreamed of in connection wth shown at the.Theatre. In Thomas young lady in the box office has You can obtain at your United Artists Corporation Distributing Depot a It is along such lines as this that I any project, however big. But, wth Burke’s story, “The Chink and the been losing Little Lucy copy of the music score used by Mr. Griffith for his presentation of "Broken am working now, and the one reward the advancement of this uncertain irt Child,” taken from “Limehouse Nights,” If you begin to stop long enough be¬ Blossoms.” This music score will be furnished you without charge and nothing I have in making money from my pic¬ the vast sums paid to grand opga Lucy, the daughter of "Battling Bur¬ fore the Buddhist shrine in the lobby singers fade Into insignificance can- of the.Theatre, you will see on better could be devised than this specially prepared score, over which Mr. tures is that I mav thus have enough rows,” is supposed to be 12 years yld. A Poetic Creation by Lillian Gish Griffith and Mr. Louis F. Gottschalk labored so unceasingly. o spend in making better pictures in pared to the weekly earnings of he but with the license of the artistic jro- the richly embroidered table covering, Parallel Publicity . the days to come.” stars of the films. ; ducer, Mr. Griffith took the liberty of coins and dollar bills. The money has “Broken Blossoms,” as you know, is taken from a short story by Thomas And yet th.s very phase, whllenf adding three years to her age. come to the feet of the Buddha in some Miss Lillian Gish who was first in- 3 by course der.iamfing the attention of M". Few who see her performances as mysterious manner and no one has yet sg.*m...the person _or_ persons _who “C,^lr,bin Da','if Wark^ Griffith to _ 'Limehouse Nights” is published by screen ’producers anif directors, when 'at ' her "bullying fatlieT^c?'ft31- Robert M. McBride & Company, 31__ Last 17th Street, New York City, A Glimpse of little interest in the concrete. It is mand she tries to push her wan lips bute before the image. Blossoms”—by'"farVthe*"mfflrtr Tartlstic' ' Be sure to get your ’-’local book store and the book department of your true that the famous “D. W.” p^ys into the semblance of a smile. Mr. During the days that D. W. Grif¬ production Mr. Griffith ever has done, department stores _ take advantage of your run of the film. The publishers some attention to the business side of Griffith declares that this was a purely fith’s “Broken Blossoms” has been —now showing at the. of "Limehouse Nights” are already waging an extensive campaign among the D. W. Griffith his vast enterprises, but such involuntary piece of acting; for when, playing at the.Theatre the money Theatre. book-sellers in behalf of co-operation with pictur* *■’ ' ” " ° ” tion merely ™is __negligible. This fact during the photography of the first has been pouring in to Buddha. At It is quite certain that a girl less you advise your local book-sellers when youi ___ clearlv established recently in New scene of cruelty, between her father first it was but a few pennies, then clever than Miss Gish might have ♦ set. Famous Motion Picture Genius York when a prominent business and herself and she was all in /ery it grew to silver coins, and now paper found some difficulty in creating the msi ivirMr. Griffithvtimirif ~ dinner 0,1given in real tears, he suggested as dire:tor, money rests in the upturned hands of illusion of a fifteen-year-old child of David Wark Griffith, whose new honor of the producer by William Gibbs that she smile through her tears. the image. the East London slums. Yet there she photoplay drama, "Broken Blossoms,” McAdoo. “What a tremendous amount She was so wrought up over the What influence the Buddha in “Bro¬ is, one of the most pathetic and mov- will soon be seen at the . of calculation you must have to do, scene that she tried to smile, but ken Blossoms” may have on Christian mg figures that has ever wrung the ' vocal number, in orchestration or in dance form. Music Stores and depart¬ Theatre, is the sort of man who, leav¬ __:r vuiDinnan “considering could not, and then, quite natu:ally people is hard to understand. No sympathies of one’s heart through the ment stores have all been prepared for co-operation and it should be part of compelled to one has been able to tell what motive medium of the camera. ing nothing to chance, or to his sub¬ and without thought of artifice, she, inspired the giving of the tri¬ your,„„A campaign to__that .... both .. ...the .book >- stores_. and book departments,j the ordinates always insists on personally pay. to yoi with trqmbling fingers tried to Dush When she is first seen on the screen nusie stores and music departments work with you to your mutual advantage. looking after every artistic detail of up the corners of her lips. It wrs so butes but whether it is superstition, you can believe at once that “for just Once Again his productiohs, however seemingly in¬ matter of ftet pathetic and human a gesture thal Mr. reverence, artistic appreciation or over fifteen years this bruised little To get the biggest advantage for yourself and your house out of your significant. I couldn’t tell you to save my life Ihe Griffith at once realized its value and fear of the god, the fact remains that body had crept about Poplar and run of “Broken Blossoms,” be- ‘ ~~3 the-=--- outstanding artistic achieve- In “Broken Blossoms” Mr. Griffith amount of money that is being pud it remains one of the striking lotes from day to day the money piles up, Limehouse.” Beaten almost daily by ment in your theatre history. has achieved new distinction in the - moving and not even the colored porter at the her drunken father, never knowing Make your entire ca-mpaign! on "Broken Blossoms” so high class, dignified field of motion-picture drama, for here theatre has the temerity to touch it. a kind or gentle word until it is and yet powerful,... that its very dignity will stamp the engagement as the for the first time, instead of using tre¬ nui any L.~ ... any spirit of super¬ (Note: You can use the story above spoken to her through the reveren¬ utmost that-i be offered in drama and art. mendous scenic effects and great ciliousness or arrogance but because if your lobby or theatre display in¬ tial love of a Chinese Poet, she is yet crowds of people, he works on the it is the truth. Were I to concern my¬ cludes a figure of Buddha or a Chinese able to portray just what her creator A COMPOSITE REVIEW OF THE PRODUCTION WRITTEN BY THE DRAMATIC emotions of his audiences by the sim¬ self with the dollars and cents in¬ Burke says about her. AND MOTION PICTURE CRITICS OF THE plest and most artistic means. His volved in the things I am trying to do Griffith Sent Barthel¬ “Yet, for all the starved face and NEW YORK NEWSPAPERS picture, made from the story “The I would not get anywhere. Those who transfixed air, there was a lurking Chink and the Child” taken from have had faith in me have been willing beauty about her, a something that It is not too much to say “Broken Blossoms” is the most artistic photoplay mess to China called you in the soft curve of her yet produced (Evening Sun). It is as if Dickens had spoken by means of the Thomas Burke’s “Limehouse Nights,” to assume the financial responsibility contains less than half a dozen charac¬ and allow me to be entirely free_ of The Nameless One cheek that cried for kisses and was camera. Moreover there is a glamor here as if Pierre Loti or Victor Hugo had fed with blows, and in the splendid joined forces with Mr. Griffith. Is it any wonder that “Broken Blossoms” is a ters, and yet its appeal to the deeper that phase of the producing of The- important thing in casting emotions is quite as striking and po¬ tures. Were it not so, probably I mouy^ulness that grew in eyes and masterpiece of the film (Evening Telegram). the part of the Chinese poet, Cheng It is one of the wonderful things lips, ^^he fair hair chimed against It is a thing of rare and haunting charm (Evening Post). Mr. Griffith tent as was the appeal of “The would not have had any measure of Huan, in “Broken Blossoms,” whbh is about the motion-picture art of David Birth of a Nation” or “Hearts of the success in my work. The min who has the pale^fc^ce like the rounding of a should think of a new name for his work along with a new synonym for the soon coming to the.Theatre, Wark Griffith that even when con¬ verse. The blue cotton frock could not words "photo-play,” because his productions are so different from those of World.” to stop to count the pennies cannot was, according to D. W. Griffith, to structing a master-piece such as "Bro¬ Mr. Griffith says: “I make no pre¬ get very far in creative work. It does break the loveliness - r slender fig¬ other directors that they require a separate classification. " player whose facial' exlres- ken Blossoms," he is able to forget ure or the shy grace dT her movements Such art, so real one can think only of the classics, and of the masterly tense to be the spokesman of the mo¬ not matter to me what it may cost to 'unphasfize as fully as pos- for a time the largeness and main ap¬ naintiogs remembered through the ages; so exquisite, so fragile, so beautifully tion picture art, and yet, becaus present a given production of the peal of his story to pay minute, even ______my good standard I have striven to maintain, and fragrantly poetic is "Broken Blossoms” (Morning Telegraph), rortune to introduce, people expert me- iviv faith ir. t-hs public is such thatdt lehouse Nights,” ”‘‘his“love' microscopic, attention to some small of waste.! life a and', td0.lv.’ and debay,v'-; } most beautiful motion picture we ever have seen or ever expect to e. When and holy thing. Even his yore* detail that, perhaps not ten percent of there was i it was over, we wanted to rush up to every one we_ ____met and cry: 'Oh, don't to prophesy as to the future of this never occurs to me to question tmlr enemies admitted that." It TJOSt ilia audiences would ever regard as miss it. don’t miss it!” If we were a director, should’ give up all idea of form of entertainment. Of my own support of any artistic thing I nuy chanced that, looking around foj the essential. plans, hopes and ideals it would be have in mind." It is her* ever trying to be original, and spend the___time rest of trying to make some- j doubt that R:r. right player, Mr. Griffith heard that In his grimly beautiful spectacle, poetic heart* wonderful, fragile thing that Mr. Griffith sheer egotism for me to speak and yet And there can be Richard Barthelmess was, for the time “Broken Blossoms,” now at the uing as nearly as possible like t1-1- -J I may say that I can discern ~ — Griffithrnm hasnaa attained - very high meas- the has done. For the last two years have seen at least one picture a day, yet being, at liberty to accept the diffi¬ .Theatre, that takes Gisli (hat justifies that tiu^Hni with “Broken Blossoms” we sat on the e of success, artistically and flnaji- cult engagement. place in “the low-lit Causeway that shall come the art of the spoken drama cially,1 with'"such productions as “The the horror of rffe wlth Uattlif>„_ arm, the other crushing a wet handkerchief, and trembled and grew hysterical A college man, educated at Trinity slinks from the West India Dock Road rows to the almost religious worship" and the new art in which the motion Birth of a Nation," “Intelorance/ College, Hartford, he had already to the dark waste of water beyond,” over what we saw before us (Tribune). picture camera plays so large a part. of the followers of Buddha. With wan He has far exceeded the power of the written word. It would be Impossible “Hearts of the World," and his . latest worked for Mr. Griffith, who knew well Mr. Griffith has stripped the original smile, forced by her trembling fingers; for the greatest master of language to picture the emotions as Griffith has| “As the art of the cineomatograph story by Thomas Burke down to its has grown, it has grown steadily of his abilities. Mr. Barthelmes3 be¬ with sweet, sad eyes abrim with bitter perpetuated them (New York Call). gan his career as an actor for the essential characters. And yet he has tears, her sorrowful face looks from Not a movie melodrama with an unhappy ending, but a sincere human away from mere action for action’s screen in "War Brides” and “The understood that to make people thor¬ sake. There was a time when, simply the screen and in the soul of every true tragedy, that is what Mr. Griffith has had the capacity and courage to produce. Eternal Sin;” though prior to his ap¬ oughly understand the true nature of man and woman it wakes thoughts All his mastery of picture-making, the technique *" pre-eminently" - his by because of the facility with which the pearance in the films he had done not¬ the Chinese poet, Cheng Huan, some¬ camera could depict large masses and that are full of a pure and holy sym¬ invention and control, the skill and subtlety with hich he can unfold a story, able work in New York stock thing must be known of his past; he pathy. It is clear that the emotions has gone into the making of "Broken Blossoms." is a masterpiece in moving panies. He appeared in “Bab’s Bur¬ must show that Cheng Huan was not that Mr. Griffith has so wonderfully pictures. (Times). glar,” "The Seven Swans,” “Rich Man, simply a product of that one room over perpetuated, sprang from the heart of • The Playing— Poor Man” and “Three Men and a Tai ■ Fu’s store in Pennyfields, but Miss Gish, the clever actress who has Miss Lillian Gish, as the Girl, is so sweet and charming, and withal so ACCESSORY ORDER BLANK FOR Girl,” “Nearly Married;” “The Hope must bring his audiences to realize always used her art to aid in his suc- touching that the presentation actually moved spectators to tears (Evening Chest” and _ that this Chinese poet had a heart Telegram). Her work is so tender, so convincing that there comes a time when The qualities of simplicity and nat¬ filled with the murmuring of plum you Just can't watch her any longer (Tribune). “BROKEN BLOSSOMS” uralness which he had displayed in blossoms, rice-fields and the stream. "Broken Blossoms” reveals Lillian Gish as a tragedienne of extraordinary other films suggested him as the ideal And so there is brought into the ability (N. Y. Commercial). She is something more than a wistful and appealing actor for the part of Cheng Huan picture a vision of Cheng Huan tak¬ heroine; she has caught the essence of the heroine’s soul and made it live NAME OF THEATRE . and, in order that Mr. Barthelmess ing his departure from the lands of (Evening Mail). As the frightened, sensitive child she made a rare ivory cameo might get thoroughly into the atmos- his ancestors. Like a good Buddhist Griffith Only Carrying of her part (Sun). phere__- __,-. .. Griffith sent that he is, he pays strict attention to _ _: Miss Gish been more appealing. She is all-child and exquisite him from San Francisco __ _Shaighai,__ the religious and poetic ceremonial, Out Latest ldea_ in her tragic appeal (American). She gives a performance so finished and so where he steeped himsSIf irr-ehe-culm —ii«-ilh» last thing he. dojjs before appealing and pitiful it will be recorded among the remembered characteriza¬ and beauty of the Orient. There, learn- leaving for Shanghai is to ~ visit a tions in this uncertain art of the unspoken drama (Morning Telegraph). * the wonderfully kindly attitude Buddhist temple and recite the “Lei- Repeatedly in varying roles, she has proven her superior talent as a screen hei” or the prayers of “The Day." I only wish that you who are to '0 actress, but never before has she been—_i so human andand___ at the same time came imbued __ _ That this ceremony might be fittingly read what, is written here, could ha-jH plished. The role is so difficult ~ ~ » be' beyond’ the reach of almost any actress ables him in “Broken Blossoms” portrayed, Mr. Griffith secured the stepped into Boston’s Colonial TheatW# ~ within Miss Gish’s grasp (Times). She POSTERS convey the ideal love which the Chin¬ services of an eminent Chinese ed¬ lobby with me recently and met DavflP* _- v..=_,. — girl—timid, forlorn, a fantastic little One sheet, number 1, 7 cents. ese poet feels for the poor little bruis- ucator, holding a professorship in one Wark Griffith, whose latest film, creature—she contributes much to "Broken Blossoms” (Evening Post). One sheet, number 2, 7 cents.". and broken English girl. It is of our leading universities. When ‘Broken Blossoms,” is now showing at Richard Barthelmess makes a very convincing and appealing Chinese hero One sheet, number 3, 7 cents. love without ingle thought consulted about this scene in which „..Theatre. (Evening Sun). There is good pantomime in his impersonation (World). . . . Three sheet, number 1, 21 cents. of selfishness ... ., - love of pity and Cheng Huan is first introduced, this But as.this is a futile wish, I must, A sensitive, convincing yello ' Three sheet, number 2, 21 cents. human sympathy ..-it makes those Chinese professor became so inter¬ to the best of my ability, sketch you A few months back playing simple juvenile roles, he suddenly steps forward Six sheet, 42 cents. -and realize it come away from ested that he confessed to Mr. Grif¬ a mental picture of this man, but be and gives us one of the best character roles ever seen on the screen (Morning Twenty-rour sheet, number 1, $1.68. picture with a more tender and fith that in his youth he had been kind, as I am a poor artist, and the Twenty-four sheet, number 2, $1.68. gentle feeling toward I subject a great one. Telegraph). ’ " kind. educated for the Buddha priesthood. A theatre flooded with color, weird, He conveys the Chinaman poet’s nature better than any other screen player LOBBY PHOTOGRAPHS Of his own accord he accompanied barbaric music coming out of nowhere, one can call to mind (Evening Mail). It is the most beautiful and delicate 22x28 (two in a set), 60 cents per set. Mr. Griffith to a Buddha temple; a lot of strange men trying to be work of his career (Tribune). He is particularly happy in the role of the Chink, 11x14 (eight in a set), 75 cents per set. shaved his venerable head, after the polite to you, when very busy, and presenting the character with the repression and aloofness it required (Evening 8x10 (ten in a set), 35 cents per set. manner of the Buddha priests, and then a tall, slim man emerges out of Telegram). STAR PHOTOGRAPHS The Cry of the Children donned the simple but artistic robes the confusion and grasping your hand, Donald Crisp as Battling Burrows, is as much like Bill Sykes as may be, 8x10 black and white squeegees— of the order. Then Mr. Richard with something thrown in for good measure (Tribune). Convincingly realistic Barthelmess came before him, the says “How do you do, I am glad to (Evening Mail). Portrays the father realistically even to th~ **- ' (Sun). D. W. Griffith, 10 cents each. entire Buddhist ceremony was gone meet you,” just as if you were the Lillian Gish, 10 cents each. In D. W. Griffith’ masterpiece, first newspaper woman he had ever Richard Barthelmess, 10 cents each. through elaborately and with strict “Broken Blossoms,” now c. , attention to correct detail. The gentle¬ met, instead of the hundred and first. SLIDE—Twelve cents . Theatre, there are some slriking “Pardon me for telling you what keting of their own productions. It is scenes showing the picturesque j China man who played the part of the priest you should ask me,” he said, after we Griffith’s “Broken Blos¬ through this organization that "Broken USE OF MUSIC SCORE WITHOUT CHARGE that the poet Cheng Huan know be- declined to be paid for his services. hajl safely gotten away from the Blossoms” is being placed- in the the¬ 8x10 BLACK AND WHITE SQUEEGEE STILLS OF PRO- He is now back at his professorial atres of the country. '!u 4^UhS.,'\£W^faplu1^.^°?,7 ■Aities. ^-but^his^ ban- which__he junsel- soms” To Be Seen At DUO£LON FOR NEWSPAPER PTTBLTPLTY WTWr Pennyfields and the dock district of “ ’‘lil' "'iifi 3 oblJfirine-ly. "Why lirTr&’t n's acf ap ted from a tale by Thomas Grifflth's^art^has grown again and ft ^arth did you. .Theatre PROGRAM STAR CUTS London’s East End. One of > these is unlikely that any of his friends will Burke called "The Chink and the Child” scenes shows a kindly old Malndarin distinguish him on the screen. Mr. "Because I am carrying out an ideal, which is part of that author’s famous G1A—Griffith thumbnail, 16 cents. who stops his "Kago” or sedai'i-chair because I want to be creative. Do I volume “Limehouse Nights.” Around G2A—Griffith one column, 16 cents. Griffith was anxious to give him credit think it will be successful? I don’t Film That Has Been Sensational to distribute sweetmeats and “cdsh” to on the program for his excellent act¬ this story, and we speak from the opin¬ G3A—Griffith two column, 25 cents. a bevy of richly dressed little Chinese ing but for many reasons the disting¬ know. In these days when people will Success Wherever Shown Will ions of dramatic critics the country B2A—Gish one column, 15 cents. maidens. uished Chinese student asked that his pay $3 to hear a Jazz orchestra, and over, Mr. Griffith has built the most B6A—Barthelmess one column, 16 cents. The camera cannot tell yod *1.11 the name be not used; and in the Grif¬ see half nude women dance, the Be Brought to. alluring, yet pitiful, beautiful, yet NEWSPAPER STAR CUTS truth about China, but Mr. Griffith fith studios he is known only a? "The chances are pretty even that it won’t. tragic love story ever filmed. It has G1—Griffith thumbnail, 15 cents. was quick to see that something of the People have told me that I am foolish, Soon. become habit, almost, to look upon a Nameless One!" a Chinese artist for but I had to do it. After all, ‘Broken G2—Griffith one column, 15 cents. truth, the contrast between the kindly Art's sake. Griffith production as something more G3—Griffith two column, 25 cents. treatment accorded children by the Blossoms’ is only suggested by ‘The Of extraordinary interest ..u. than a motion picture, yet even the G4—Griffith three column, 50 cents. Chinese, and the brutality, vicious¬ Chink and the Child;’ that name to lovers of the motion picture, but most ardent admirers of the art of G5—Griffith one column line cut, 15 cents. ness and unthinking cruelty meted would not do at all for us; people likewise to all who appreciate ’the this master of the films did not dream G6—Griffith two column line cut, 25 cents. out to the children of the poor in would only confuse it with some wild highest in art in its various manifesta¬ of the wonders that he would reveal in B1—Gish one column costume, 15 cents. other places, had to be drawn, so as Distinctive Art as tale of a Chinese opium den. tions, is the announcement of the "Broken Blossoms.” B2—Gish one column straight, 15 cents. to emphasize the naturalness of the “People have criticised me for show¬ . Theatre that it has secured And of acting, let a word be added. B3—Gish two column costume, 25 cents. Chinese rivalry that made Cheng ing Miss Gish being beaten by ‘Bat¬ David Wark Griffith’s superb screen Lillian Gish as “The Girl” has reached B4—Gish two column straight, 26 cents.. Huan inevitably care for little fifteen Exhibited in tling’ Burrows; as a matter of fact, creation, "Broken Blossoms,” to be a height of dramatic interpretation the B5—Barthelmess one colutnn costume, 20 cents. year old Lucy, after her beast of a she was not beaten. The pictures are shown . like of which has never been seen on B6—Barthelmess one column straight, 15 cents. father. Battling Burrows, had driven “Broken Blossoms” arranged to give that effect—but no the screen before. This little artist B7—Barthelmess two column costume, 25 cents.... her from his wretched one-room home. whip ever touched her. But there are Never has a motion picture been has labored faithfully, steadily, with B8—Barthelmess two column straight, 30 cents. Nothing could be more pitiable than a lot of ‘Battling’ Burrows in the accorded a reception comparable to the an understanding marvelous in one so B9—Gish and Barthelmess three column costume, 35 cents the condition of the children whlo have The difference between a romance world today.” and instinctively our con¬ triumph that has followed every show¬ young, and now she comes into her in the “voiceless art” as presented by versation wandered to the war. ing of this production. Newspapers B10—Crisp one column, 16 cents. .. to live through "Limehouse Nights” full glory in "Broken Blossoms." “The SCENE CUTS in London. In Mr. Griffith’s latest David Wark Griffith and any other “The League of Nations?" he mused. have devoted column after column to Chink” is played by Richard Barthel¬ production—-by far the greatest one producer is the difference in the dis¬ “There will never be a League of its beauties and wonders. Everywhere mess and to his work the critics have Bll—One column, 15 cents. he has made—’you are made to see tinctive quality of the art, as easily Nations until we cease regarding our¬ its success has been instantaneous and paid high tributes likewise. To the B12—One column, 15 cents. the noisome alleys; the wretched felt and discerned as the difference be¬ selves as the greatest people on earth. it is safe to say that in bringing telling of the love story of “Broken B13—Two column, 20 cents.. rooms, the calls to vice. Fortunately tween an etching by Whistler and the Until we stop speaking of foreigners, "Broken Blossoms” to our city, the Blossoms,” it is said that both Miss B14—-Two column, 35 cents. this "Christian” treatment of the little same subject handled by a lesser artist. wops, chinks, et cetera, then and only management of the . has Gish and Mr. Barthelmess have brought B15—Three column, 40 cents. ones is in sharp contrast to the at¬ In "Broken Blossoms,” the latest tri¬ then will there be a true brotherhood. to its credit the biggest accomplish¬ a never-to-be-forgotten artistry. Donald ADVERTISING CUTS titude toward youngsters in America. umph in photoplay by Mr. Griffith, Until that time the League of Nations ment in artistic entertainment that Crisp plays the part of "Battling Bur¬ which is the present attraction at the will Indeed be only a scrap of paper.” we have yet enjoyed. BD1—One column, 15 cents. In China, as in our own country, rows,” the brute on whom fatherhood BD2—One column, 20 cents. everyone has a kindly word for the .Theatre, there are so Then looking at me intently he asked Mr. Griffith, it will be remembered, has been forced, and his portrayal of a BD3—Two column, 25 cents. little ones. In Hong Kong, where D. many wonders of the camera-art that quietly, “What nation or race of peo¬ together with Mary Pickford Charlie difficult role with rare talent and BD4—Two column, 35 cents. W. Griffith studied the Chinese, there have been invented merely to bring out ple on the face' of the earth today, Is .- Chaplin and Douglas Fairbanks, early strength, completes the triangle of BD5—Three column, 70 cents. are magnificent palaces built high the finer points of the tender romance, following the teachings of Christ?'" in 1919 organized United Artists Cor¬ chief characters in the story. up on the Peak. The material for that many of them are just taken for A long silence followed, broken omV-_ poration—popularly known as "The “Broken Blossoms" should prove the TOTAL . these was, every bit of it, carried up granted by the audience, though to by the sobbing wall of a Chinese reed Big Four”—for the making and mar¬ crowning achievement in the splendid Kindly remit full payment with accessory order the steep incline by hand. And the most other producers those effects are Scanned from the United Artists collection at the Wisconsin Center for Film and Theater Research.

Digitization and post-production completed in the University of Wisconsin-Madison's Department of Communication Arts, with funding from the Mary Pickford Foundation.

www.marypickford.org

MEDIA HISTORY DIGITAL LIBRARY

www.mediahistoryproiect.org