The Red Lily

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.

In the silent year of 1925, Herr Fred Niblo directed Herr Novarro in "Ben-Hur", a colossal silent film production that made its way into film history for its magnificence and grandiloquence, but just one year before, both director and actor worked together in a modest, small silent film production as magnificent in its way as "Ben-Hur"; you only have to change ancient Rome for Paris and you have "The Red Lily".

"The Red Lily" is a superb silent film that must be recovered from oblivion for the joy of silent fan crowds around the world ( nowadays a more easy task since the longhaired people at "Warner" decided to open up their archive vaults ). The film is a small piece that highlights the virtues of silent cinema in which the complications of human nature play the lead in the film. It's a beautiful and sorrowful love story that defies destiny and moves the audience in an irresistible way.

The love story between the Major's son Jean ( Herr Ramon Novarro ) and the cobbler's daughter Marise ( Dame Enid Bennett ) will have to overcome difficult and terrible circumstances. As a German saying says "when you think that things are bad, they get worse" and that it is what happens during the whole film until a happy ending will finally bring the couple together. Set in French Brittany, social prejudices and an unjust robbery accusation will send Jean and Marise to Paris, a big city where the love of our sweethearts will suffer a terrible turning point in their lives.

Herr Niblo's superb film direction shows the fragility, uncertainty and changeability of the inner human sentiments of our heroes; they will suffer despair and hate, helplessness together in squalid conditions and, worst of all, broken dreams. Jean and Marise suffer their special "Way of the Cross" depicted on the screen by Herr Niblo with a deep, painful sorrow. It's a private tragedy full of deception that rules the lives of our heroes in which it seems that destiny is continuously sneering at them.

Astounding and remarkable is the performance of Dame Bennett in her role of Marise, one of those classical heroines of silent films; her transformation from a mild peasant to a prostitute is brilliant, an excellent example of the greatness of silent pictures and superior actresses, in which a look, a timid gesture, a cry for help, can still move longhaired audiences to trembling even today.

The film is perfectly set in different surroundings; from the Brittany provincialism and their peculiar peasants and prejudices to the Paris slums full of decadent and distinctive characters. Besides exceptional art direction you also have the great cinematography of Herr Victor Milner; it's luminous and hopeful in Brittany and gloomy in the breathless and eternal Paris night, until the finale when the sun will shine again in the broken lives of Jean and Marise.

"The Red Lily" is a beautiful film pregnant with infinite sadness about the fragility of love and life, redemption and forgiveness; a touching film story, a hidden and wonderful silent piece.

And now, if you'll allow me, I must temporarily take my leave because this German Count must give a bouquet of stinging nettles to a Teutonic rich heiress.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

Despite having been given only a "two star" rating by our local newspaper, I decided to watch this recent addition to the TCM collection anyway and I'm glad I did. Although the story does not always flow smoothly and there are flaws in the narrative, The Red Lily is a beautifully told, emotionally driven, story with excellent acting by the three leads -- Enid Bennett; Ramon Novarro,who in this picture again shows what a fine actor he was; and, Wallace Beery providing some comic relief in what is until the very end essentially a tragic tale.

It is Bennett who makes this movie work. She is outstanding in her portrayal of a girl who is transformed from a naive peasant to a harsh and bitter "lady of the streets." This transformation is convincingly done, partly through her physical change, but more importantly through Bennett's skill as an actress. As another commenter has noted, her resemblance to Lillian Gish in physical appearance (except in profile), mannerisms, and acting style is uncanny. That alone is praise enough for any actress.

The direction by Fred Niblo, who was Bennett's husband, is nearly flawless with Niblo using innovative shots, creative lighting, and tinting to reinforce his story. The new musical score is superb and truly enhances the movie.

The Red lily is definitely worth watching even if you are not a fan of the Golden Age of Silents.

The plot strains credulity and Novarro's character changes his mind without conviction (other than this is what the script dictates)at least once. And it's melodramatic, depending on the kind of mischance that drives a Thomas Hardy novel. Enid Bennett is no Lillian Gish -- Bennett does not demonstrate that subtle shift in emotion and attitude that makes Gish so great -- although the changes in Bennett's makeup are remarkable. She does, finally, revert to "Angel Face." That said, this is a classic silent film. It uses a minimum of title cards. Its shots are beautifully designed. It has a neat repeat of the beginning in the ending -- with the exception that Wallace Beery's Bo Bo is involved in the latter. He's the only one who seems to grasp what a close call the lovers have just had. The final scene becomes a visual summary of the film. One moment -- when Bennett lights a candle on the fireplace of her former home and the tint immediately becomes orange --is breathtaking. The Paris depicted is that of Victor Hugo -- no grand vistas or broad boulevards, but cul de sacs, hovels, brothels, the sewers, and the constant pursuit of avenging gendarmes. The film demonstrates why these films packed movie houses and why they are still so much more worth watching than 90 % of "talkies."

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.