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.

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 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.

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."