The Red Lily

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."

Emotional tale which starts in a small village in Britanny where lives a young couple, Jean (played by Ramon Novarro) and Marise (Enid Bennett), childhood sweethearts who are torn apart when her father dies suddenly. Impoverished and alone, she must go to live with her next of kin - a poor and unfriendly family including drunken husband, haggardly wife, and lot of dirty, small children. The man, a raging hothead, chases after the poor girl, almost with gleeful evil, with a whip 'til she runs off seeking refuge in her old, abandoned home. Luckily her handsome beau loves her and takes her away to start a new life together in Paris. Unfortunately, through circumstances, they are separated and can't find each other - and thus follows the story of life and what happens to each of them in the big, bad, crime-ridden city.

An emotionally charged film throughout, brightly tinted in part with shades of browns, reds, and oranges, and with striking photography in places, especially noticeable the interesting shots taken into and out through windows and such. The music score that accompanies this film is really excellent, completely suits the mood of the story, and, I thought, enhanced the film. The acting is well-done - actress Enid Bennett reminded me, both in appearance and acting style, of Lillian Gish. Of course, Ramon Novarro looks very, very handsome, as usual, and Wallace Beery appears as his usual smarmy self. This is a terrific silent film, I loved it.

"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.

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.

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.