The Red Lily

"The Red Lily" is unusual in that I had never even heard of it until 18 September 2016 when Turner Classic Movies brought it -- as it turns out, again, after 10 years -- to the screen as the Sunday night silent.

This is not bragging but I have been a silent movie fan since about 1972, when I first moved to Los Angeles and discovered the Silent Movie Theatre, then run by John Hampton and his wife.

Attending every week for several years, until Mr. Hampton became ill and the theater closed, I considered myself somewhat of a silent movie authority, a minor expert.

So I was surprised by "The Red Lily" and by Enid Bennett, whom I do not remember seeing before.

In her first scene I thought "Lillian Gish," though perhaps it was her make-up, especially the lips, and the hat.

But in fact Enid Bennett gave a performance worthy of La Gish, a magnificent performance, heart-tugging again and again.

Her innocence and her constant victimization brought me to sympathy and to anger in scene after scene.

Ramon Novarro proved once again that he was an excellent actor, and watching him battle himself was a lesson and a movie-going treat.

Other actors, including the inimitable Wallace Beery, were equally enthralling, perhaps especially Milla Davenport as "Madame Poussot."

One reviewer here questioned if it were really a man, because she had a mustache and very noticeable beard. I believe I have seen Ms. Davenport in other mustachioed roles, usually for comic purposes, but possibly it was another actress or other actresses.

Most likely, in my opinion, her hirsute adornment was added by the makeup department, but there are women afflicted with facial adornment, I think especially Mediterranean-descended women.

The Madame Poussot character added another layer, another dimension to the rather ugly and unpleasant Paris atmosphere that was necessary to this story.

Ugly? One can't get much uglier than the Paris sewer system, which has figured in many a movie. In fact, I wonder in just how many movies it has appeared, in addition to the many versions of "Les Miserables."

Ugly, depressing, downbeat -- "The Red Lily" can break your heart, as it did mine, right up to the apparently tacked-on ending.

That apparently tacked-on ending knocked down my rating to only 9, but the rest of "The Red Lily" is so moving, so beautifully produced, it is a must-see for film lovers and especially for silent film lovers.

I highly recommend "The Red Lily" and I'm grateful to TCM for presenting it.

Small town innocents Jean and Marise pledge undying love for each other and decide to run off to Paris. Once in the big city they are separated when Jean's father sends detective's after him. He eventually breaks free of them but fails to reunite with Marise and the two go it alone. He takes up with thugs while Marise struggling to make an honest living is exploited and ends up on the street. When they meet again much the worse for wear Jean rejects Marise violently.

Filled with casual cruelty The Red Lily's depressing storyline is vividly realized through the chiaroscuro photography of Victor Milner (The General Died at Dawn). Reminiscent of Brassai's classic photos of the Paris underbelly Lily is populated with a rogues gallery of low lifes and criminals and their haunts. As the lovers Ramon Novarro and Enid Bennett are both outstanding transitioning from innocence to depravity. Director Fred Niblo captures their dissent in devastating close-up and the sweeping change in both is almost as startling as Dr. Jekyl's.

Niblo's film remains uncompromisingly dark until the tacked on last scene which undermines the power and impact of the story. Something tells me studio head Louie Mayer had more to do with this than Niblo who up until that point was crafting a pre-mature work of Poetic Realism.

The Red Lily is the story of a boy (Ramon Novarro) and a girl (Enid Bennett) who fall in love. His father does not approve of their potentially marrying because she is poor and has lost her father. However, the two plan to wed anyway and the father disowns his son. Problems arise with the father that tears them apart, often just steps away from finding each other but to no avail. Their lives change drastically in the process, the girl turning to prostitution to make a living and the boy teaming up with a thief named Bobo (Wallace Beery) and running from the law.

The plot of the film is brilliantly done; there is plenty of tension throughout the film which puts the audience's emotions into overdrive. The film was shot extremely well; every frame is a work of art. The tinting is not overdone at all either. The characters are very likable, thanks to the wonderful acting by the cast. Bennett is appropriately tragic and sweet, but not in a bland way. She makes a very traditional role into something special. Novarro is great making his transition from a devoted protector to a paranoid hardened man of the streets. Beery is at his best here; every expression is a delight to watch. He balances humor and sincerity very well.

Scott Salinas provides a gorgeous and perfect score for the TCM presentation of the film. He truly understand the art of bringing emotion to a scene; he managed to make every note blend excellently with the fabric of the story.

This is silent movie making at its best, and thanks to an awesome restoration, new audiences can begin to appreciate Hollywood history.

This is one of the most beautiful films I have ever seen. I have never been a silent film fan,until now. This was the first silent film I actually watched until the end. The story could have easily turned into melodrama and soap opera. But it was expertly written, with just the right romantic and dramatic nuances. It is a classic story, encompassing the many trials and tribulations of love. Both Enid Bennet and Ramon Novarro were amazing as the two romantic lead characters. The range of emotions that shown on both their faces was remarkable. The newly composed musical score was both classic and contemporary,adding to the beautiful tapestry of this film classic.

TCM premiered this Ramon Novarro - Enid Bennett silent film, The Red Lily, on March 26, 2006. The print was very good to excellent, switching from black and white to an orange tint for night scenes. The new musical score by Scott Salinas, who did the new score for Lon Chaney's Laugh, Clown, Laugh was very fine, and appropriate for the mood of the film.

It was a pleasure to see a silent film with Enid Bennett. She was married to the director, Fred Niblo, and she obviously worked well with him. Not too many of her silent films survive or are available for viewing. Her performance was exceptional here and reminded me of Lillian Gish in The Scarlet Letter. Ramon Novarro had a real juicy part he could sink his teeth into, and he gave an outstanding performance, one year before his starring role in 1925's Ben-Hur, A Tale of the Christ. Wallace Beery does well with a supporting role as a gambling friend of Ramon's character.

The plot revolves around a couple who had been childhood sweethearts. When the girl's father dies she is sent to live with relatives who abuse her. Rushing back home to a deserted house she meets up with her young lover and they fall asleep in front of the fireplace together. When confronted the next morning by the townsfolk they flee to Paris. A set of ironic circumstances separate them and life takes its toll on both of them.

I definitely recommend that you see The Red Lily. I wish all silent films could receive such nice restorations and musical treatments.