- Selected Film Criticism (1912 – 1920) Anthony Slide
The extraordinary part of Griffith is that he has never ceased to be a pioneer. He continues to advance. He dares to present novelties of form and novelties of material. He does not always get away with it, but he keeps right on pioneering. He is a long ways from dead, and already the Shakespeare-Bacon controversy has crawled out of its narrow cell and taken a new form in the hexagonal debate as to who invented the close-up.
the tale (Broken Blossoms) runs as written except for the very finish, with Lucy dragging out her cowering little life by the London waterside, beaten into semi-imbecility by her accidental father, picked up, reverenced, honored and enthroned by the lonely opium- eater, and at length slain in a monstrous moment of mock-virtue by the insensate chunk that caused her to come into the world. Then the beast dies before the Chinaman’s gun, the Chinaman dies upon his own knife, and the cycle is finished. There is a satisfaction in the death of all three that is an unconscious verification of both its art and its truth. Burrows the battler should not survive the weak little thing he made and slew, and for the yellow man to go on living would have been a hideous hell.