Unbroken Blossoms Review – The Making of D.W. Griffith’s “Broken Blossoms”

Iconic silent screen director D.W. Griffith, probably best known for his controversial film, “The Birth of a Nation,” may have done his best work in the 1919 film, “Broken Blossoms,” the first interracial love story to grace the silver screen. Inspired by a true story about Hollywood’s checkered history, UNBROKEN BLOSSOMS was based on Thomas Burkes’ 1916 short story, “The Chink and the Child” (alternately, “The Yellow Man and the Girl”). The tale of a young Caucasian girl and a kind Chinese man starred Lilian Gish as the abused Lucy Burrows and Richard Barthelmess as Cheng Huan, the Chinese man who comes to her aid – the casting a strong reflection of the temper of the times. Both, as might be expected during the second decade of the twentieth century, were Caucasian performers. After all, this was the period of the feared “Yellow Peril.” rampant in the U.S.

Conlan Ledwith, Ron Song, and Gavin Kawin Lee – Photo by Zev Rose Woolley

In order to foster authenticity, Griffith hired two Chinese consultants to mold Barthelmess, in yellow face with elastic bands pulling his eyes to a slant. And thereby hangs the tale. UNBROKEN BLOSSOMS is really the story of two men who made their mark on the history of cinema – but left barely a footprint in the sands of time. One was James B. Leong, a cynical aspiring filmmaker who years later directed his one and only movie, “Lotus Blossom,” but always continued to work in the film industry. The other was Moon Kwan, an idealistic family man whose sincerity was his hallmark.

Gavin Kawin Lee, Ron Song, and Arye Gross – Photo by Zev Rose Woolley

Playwright Philip W. Chung noted the paucity of information about the two men but deemed the lack of factual data “freeing,” because it allowed him to fictionalize their personalities and views about D.W. Griffith, Hollywood more generally, and the role of Asians in the Big Picture of the time. Chung added that he wrote the script in 2015 after he saw a documentary called “Hollywood Chinese” – but that it took the pandemic to send him back to the script to prepare it for production.

Alexandra Hellquist – Photo by Zev Rose Woolley

UNBROKEN BLOSSOMS is a powerful tale about the charged interactions between D.W. Griffith (Arye Gross), Lilian Gish (Alexandra Hellquist), Richard Barthelmess (Conlan Ledwith), and, of course, Leong (Gavin Kawin Lee) and Kwan (Ron Song). Chung makes the historical drama quite juicy indeed, as well as tossing in some very funny – and also some very poignant – moments. Director Jeff Liu does an excellent job of helming the production with compassion and an eye to the harsh reality of the times. The talented ensemble cast breathes life into each of the characters.

Gavin Kawin Lee and Alexandra Hellquist – Photo by Zev Rose Woolley

Kudos as well to the production crew, including Mina Kinukawa (scenic designer), Sam Clevenger (projection designer), Michael O’Hara (properties designer), Jaymee Ngernwichit (costumes), Wesley Charles Siu Muen Chew (lighting, and Cinthia Nava (sound). And let’s not forget Shinshin Yuder Tsai (intimacy director) and Cesar Cipriana (fight choreographer). All in all, this is the perfect culmination of a group effort. By the way, audiences are treated to scenes from the actual Griffith silent film, which lends special interest for those into cinematic history.

Alexandra Hellquist, Gavin Kawin Lee, and Ron Song – Photo by Zev Rose Woolley

UNBROKEN BLOSSOMS will appeal to most audiences, especially those fascinated by cinematic history, with a particular nod to Asian American contributions to films. The production is powerful, entertaining, involving, intriguing, and thought-provoking – a must-see production.

Arye Gross – Photo by Zev Rose Woolley

UNBROKEN BLOSSOMS runs through July 21, 2024, with performances at 8 p.m. on Thursdays, Fridays, and Mondays, at 2 p.m. and 8 p.m. on Saturdays (all 2 p.m. Saturday performances are masked), and at 5 p.m. on Sundays. East West Players perform at the David Henry Hwang Theater in the Union Center of the Arts at 120 Judge John Aiso Street, Los Angeles, CA 90012. Tickets ranged from $39 to $69 (Pay-What-You-Can on Monday, July 8 at 8 p.m.; $15 access tickets in limited quantity for all performances). For more information and reservations, call 213-625-7000 or go online.