The Red Lily

Two young people Jean (Ramon Novarro) and Marise (Enid Bennett) are in love but too young to marry. They go to Paris hoping to get married there. While in Paris they both get separated. Jean becomes a hardened criminal hunted by the police. Marise becomes drug addicted and a prostitute (implied). Will they ever see each other and what will become of them?

This seems to have been a lost film until TCM showed it a few days ago. It's beautifully restored with a tinted print and a brand new (and quite impressive) music score. The acting and direction are excellent. Novarro is just stunning--a very beautiful man and quite an actor. It's easy to see why he was so popular in his day. Bennett is likewise beautiful and ALMOST as good as Novarro (she was a little too goody-goody for me at the beginning). When the two of their lives fall apart it's incredible. They don't just act different, they LOOK different (Bennett especially). It's really heartbreaking to see what happens to these two innocent kids. I missed the very end (it ran longer than TCM had listed) but my guess is that it wasn't happy! UPDATE: I saw the whole thing and it does give us a happy (it totally unbelievable) ending.

A very impressive silent film. Well worth catching.

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.

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.

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.