The White Rose

It is hard to resist a film with such a lovely title. Or a film that has lovely Mae Marsh, a Griffith regular who was fantastic in the likes of 'The Birth of a Nation' and 'Intolerance'. Or a film directed by DW Griffith, not a favourite but a silent film pioneer and his best work milestones, it is a shame that his reputation wasn't quite the same after the controversial 'The Birth of a Nation' as some of his best work was after that (i.e. 'Intolerance', 'Orphans of the Storm').

'The White Rose' is not one of his best though sadly. Of the films of his seen, it is a lesser work and one of only three disappointments so far seen of Griffith's work. The others being 'The Birth of a Nation' because of its mess of a second half and the whole of 'Abraham Lincoln', the only one of his work seen where he was clearly not comfortable in the director's chair. It is a great representation of Marsh and interesting to see Ivor Novello (known best to me as a song-writer, some lovely songs he wrote too) in an acting role, but it's best looking elsewhere for a good representation of Griffith.

Some absolutely beautiful images and cinematography can be seen 'The White Rose', well it is Griffith so that was not unexpected. The lighting also has a lot of atmosphere. Griffith gives some more than competent and often accomplished direction, if not as imaginative as some of his other work.

Moreover, there is a wonderful lead performance from Marsh, another one of great silent film actresses. Carol Dempster does much with little and Novello is a dashing leading man even if the part doesn't exactly stretch him. There is some nice chemistry between him and Marsh.

However, 'The White Rose' is somewhat too long and could have been trimmed by twenty minutes. Evident from the pedestrian and over-stretched pace and too many self-indulgent close ups. The story, on top of being very slight for feature length, is very soapy and goes overboard on the too heavy melodrama.

Rest of the cast tend to overact or are not particularly memorable. Lucille La Verne, my first exposure to her being her voice work for the Evil Queen from 'Snow White and the Seven Dwarves', comes off best. The stereotypes are unfortunate and are not going to go down well with everybody, have seen more offensive ones though.

In summary, watchable but Griffith did do much better than this. 5/10

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.

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.)

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.