The White Rose

White Rose, The (1923)

** (out of 4)

Light melodrama about a preacher (Ivor Novello) who decides to "see the real world" before taking over his new church. While out he runs into a poor woman (Mae Marsh) and the two soon become lovers, which leaves her pregnant. After hearing she's pregnant, the preacher takes off and soon ends up with a rich girl (Carol Dempster) but fate might bring all three together. This is yet another moral tale from Griffith who wants again comes off very harsh on the rich while showing that the poor are the strong people of the world. I've seen over one hundred films from the director and it seems this is the type of film he always goes back to. The movie isn't too bad but it is rather bland in its execution, which means only Griffith die-hards should seek it out. Novello, who would go onto star in Hitchock's The Lodger, turns in a very good performance and his moral breakdown at the end is certainly the highlight of the film. Dempster is also fine in her role but I think this is one case where Griffith should have used her in the lead. Marsh, back with the director for the first time since Intolerance is decent in the later part of the film but suffers a little at the start due to what seems like a lack of direction. Towards the end of the film when the poor girl is kicked around by the rich, she takes shelter with the black folks who take her in as one of her own. This type of support for blacks was certainly rare in these days but that didn't stop them from having mostly whites play them (the preacher was played by a real black actor).

D.W. Griffith's "The White Rose" begins with a title card reading, "This is a story of real life with the actual incidents pertaining thereto as told by Captain Staunton of Louisiana." In addition to my doubts that this film is based on any single factual incident, let alone as told by one man (According to Griffith biographer Richard Schickel, Griffith had researched, or read about, many scandals involving clergymen in preparation for this picture), this movie bares only a superficial resemblance to real life (which is the case with most movies, of course). It is, however, similar to his other melodramas. A following title card introducing the film states, "It concerns a few human beings - no mobs or melodramatic action...." "The White Rose" is full of melodramatic action.

Anyhow, this is one of Griffith's worst films (that I've seen). It's contrived, overlong, overly sensational and plodding. Its morality tale is boring and ludicrous at times. Additionally, Mae Marsh certainly does lay it on thick with her ridiculous flapper imitation, and Carol Dempster continues to demonstrate no talent. There's some (comparatively) mild racist comedy based in degrading African Americans, too. On the other hand, and to say something favorably about the picture, the film-making isn't technically as slipshod, or unpolished, as in some of Griffith's other lesser films. Not recommended.

(Note: The print I saw was of poor quality, with bleached faces occasionally.)

This film is barely mentioned by film historians when discussing the work of D.W. Griffith. And yet it is a splendid work, full of memorable performances, and features breathtaking camerawork from the great Billy Bitzer. I guess it is a typical melodrama of the period, perhaps even a little old-fashioned in 1923, but the story is so well told that it becomes utterly enthralling and ultimately very moving. Ivor Novello, soon to shine as Hitchcock's "The Lodger", is excellent as the clergyman torn between the spirit and the flesh. He is an actor able to physicalize inner torment with utter conviction. Carol Dempster is radiantly beautiful as the innocent rich girl and it is fascinating to see a fabulously handsome Neil Hamilton as the "white trash" boy who loves her. He would grow up to become Commissioner Gordon in the Batman TV series of the Sixties.

And then there is Lucille La Verne as Auntie Easter, Dempster's "mammy". It is hard to tolerate Griffith's insistence of putting white actors in black face for African American roles - and his using these roles for low comic relief. Claims by some, including Lillian Gish, that Griffith was not racist are made a nonsense by this. Having said that it is impossible to deny that La Verne is excellent in the role, and that she shows more compassion to her fellow humans than the white characters do.

The performance of the film though is that of Mae Marsh. In the type of role normally played by Lillian Gish in Griffith films, Marsh proves herself to be the equal of Gish. She suffers with great beauty and emotional integrity - and she convincingly takes her character from innocent orphan girl, to town floozie (she is nick-named "Teazie"), to suffering single mother. It is one of the best silent era performances. How sad to note that in later years she was offered little more than extra work in movies.

And the film is so beautiful too - the rose symbol is used to great effect, and Bitzer's use of light and shadow is truly magical. This is a Griffith film that deserves serious reconsideration.

On her estate in Louisiana, wealthy plantation heiress Carol Dempster (as Marie Carrington) attracts the attention of handsome grocer boy Neil Hamilton (as John White). Mr. Hamilton adores Ms. Dempster from a distance, but the possibility of a relationship seems doomed. He is from a family of "poor white trash" and she is descended from European nobility. Hamilton also has to fight a "heritage of shiftlessness" as evidenced by his lazy aunt and uncle. Shaking off the laziness, Hamilton goes off to make his way in the world. These two characters, as it turns out, are secondary…

Meanwhile, far away in a suburb of New Orleans, plain "little" Mae Marsh (as Bessie Williams) leaves the orphan asylum she has called home, to make her own way in the world. She carries a exemplary letter of recommendation and naively thinks she's a "first class orphan" since she's had both a mother and a father. A brief job-hunting search lands Ms. Marsh a waitress position. To improve her customer relations, Marsh gets a modern haircut and learns to flirt with male customers like a "Jezebel". Her new wiggle arouses handsome Ivor Novello (as Joseph Beaugarde), who is planning to become a minister...

As both are wealthy young aristocrats, Mr. Novello is expected to marry Dempster (the female half of the couple initially introduced). Forgetting their separate social status, Novello and Marsh are mutually attracted, and spend a date cuddling and kissing. Although there is no on-screen indication any sexual intercourse occurred, Marsh turns up pregnant. As you'll see, it wasn't immaculate conception (which seems, for a time, a possibility). Marsh had acquired the nickname "Teazie" along with an undeserved reputation as a tramp. As an unwed mother, Marsh is thrown out on the streets...

There is a fine message about what could be considered genetic "mixing" in the story; it's made obvious by how the two couples eventually pair up. Note how writer/director D.W. Griffith has deliberately opposed the early statement, "The family came out of European nobility, taking great care in marriages to preserve the pure strain of aristocracy." The "pure strain" language, and ability Hamilton shows in overcoming his "heritage of shiftlessness," finds Griffith in a better place than his preceding reputation. Still, there is no real, defining extension of these ideals to the stereotypical "black-face" characters herein.

"The White Rose" had possibilities, but it really doesn't rise to the level of the prose he produced from 1918-1920. Robert Harron had died, and Lillian Gish had left her mentor (and would soon be appearing in the similarly titled "The White Sister" for Henry King). To his credit, Mr. Griffith did re-hire Marsh and cameraman Billy Bitzer. However, Marsh is not served well as a waif turned flapper. Regulars Dempster and Hamilton are joined by new arrival Novello. All have some good moments, but only Griffith player Charles Emmett Mack (a "guest") seems totally unaffected by the usual Griffith acting indulgences.

***** The White Rose (5/21/23) D.W. Griffith ~ Mae Marsh, Ivor Novello, Carol Dempster, Neil Hamilton

The White Rose is melodrama to be sure, but Mae Marsh, returning to Griffith after 6 years with other directors, gives a terrific performance as the orphan who learns to "vamp" and falls in love with a clergyman--British matinée idol Ivor Novello in a rare Hollywood film.

Her flapper, named Teazie, is meant to be a spoof of the 20s jazz babies known as flappers. Having come out of an orphanage, Teazie has to be taught how to primp and pose and vamp a man. Of course she's ridiculous because it's not her true nature. But the fact that the yokels fall for her vamp act is Griffith's comment on the phoniness of flappers and the stupidity of bumpkins.

One of the bumpkins gossips constantly about Teazie and convinces the preacher she's a tramp. He goes away after their one night together. She has the baby and is turned out of her job at the local inn. Despondent and starving she considers suicide but hangs on. But poverty and threats from others to turn her in and take away the baby take their toll. She becomes ill and lies dying when the preacher finally finds her. The ending is pure Griffith.

Marsh certainly ranks among the great early silent film actresses. She was much more expressive than Lillian Gish or Mary Pickford and sometimes now comes off as hammy, but she has moments in The White Rose where she is magnificent and matches her best work in The Birth of a Nation and Intolerance. Handsome Novello suffers nicely as the guilty clergyman and probably could have given Rudolph Valentino and Ramon Novarro a run for their money as a Hollywood Idol, but he worked mostly on stage in London. Carol Dempster (Griffith's protégé) is bland as the clergyman's friend. Neil Hamilton, despite good billing, has a small part as the poor boy trying to make good. Lucille Laverne is fun (in blackface) as Auntie Esther.

Despite its melodramatic nature and moralizing tones, Griffith still packs this film with great scenes and his trademark layered action (foreground and background). The DVD I have is also washed out (noted elsewhere in comments) and some faces appear as white blanks, but this is a 1923 film that has not been restored.

Little Mae Marsh, one of the first movie stars, certainly deserves to be remembered. But The White Rose was her last real shot at stardom, and as talkies came in her work in the teens was forgotten She worked in films in bit parts through the 60s. But to fans of silent cinema Mae Marsh ranks with the greats and deservedly so.