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."
24 Reviews
Impressive Piece From the Golden Age of Silents
JohnKyle28 March 2006
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.
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.
Ending
elainaflessas12 July 2006
Warning: Spoilers
This is one of my favorite silents I've seen, and while the other describes it pretty well, the ending is typically "Happy ever after". Going home the hero, with the new bride and all is happy and light.
That said, the acting is indeed wonderful and not full of fluff of the 20's one would expect. Usually I don't sit on the edge of my seat, but this one did a wonderful job of pulling you in with the characterization.
The imagery is some of the finest I've seen in a silent, and they use it to full advantage here, using light and shadows to create the atmosphere and they use it well, instead of showing the police with guns, you get the shadow coming out, and you do get the idea that fate is looming over the hero.
TCM has given back what has been a lost gem of the silent era. If you get a chance to watch it, it's one not to miss.
That said, the acting is indeed wonderful and not full of fluff of the 20's one would expect. Usually I don't sit on the edge of my seat, but this one did a wonderful job of pulling you in with the characterization.
The imagery is some of the finest I've seen in a silent, and they use it to full advantage here, using light and shadows to create the atmosphere and they use it well, instead of showing the police with guns, you get the shadow coming out, and you do get the idea that fate is looming over the hero.
TCM has given back what has been a lost gem of the silent era. If you get a chance to watch it, it's one not to miss.
Engrossing, packs an emotional wallop
jpb5826 March 2006
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.
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.
Down and out in Paris
st-shot23 November 2009
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.
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.
Stirring Tale of Love and Separation
movingpicturegal27 March 2006
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.
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.
Love Is Not Blind
wes-connors28 November 2009
Young French lovers Ramon Novarro (as Jean Leonnec) and Enid Bennett (as Marise La Noue) are separated by all manner of silent melodramatic conventions, on their way to the alter. A wealthy gentleman, Mr. Novarro becomes a prisoner and thief. Meanwhile, lovely and virginal Ms. Bennett becomes an increasingly haggard Parisian prostitute known as "The Red Lily". Eventually, the duo (and you) are meant to discover whether (or not) love conquers all...
The film's real lesson is on the importance of being an attractive woman, considering Novarro's various reactions to Bennett.
Novarro, and supporting castmate Wallace Beery (as Bo-Bo) are fine actors, but this time Bennett steals the show, especially in her destitute state. "The Red Lily" isn't one of the all-time best-looking silent films, but the Paris bars, sewers, sleek hospital, and beautiful outdoors are artful. It was directed by Fred Niblo (Bennett's husband) and photographed by Victor Milner. Turner Classic Movies shows a beautifully tinted print, nicely scored by Scott Salinas.
****** The Red Lily (9/8/24) Fred Niblo ~ Enid Bennett, Ramon Novarro, Wallace Beery, Frank Currier
The film's real lesson is on the importance of being an attractive woman, considering Novarro's various reactions to Bennett.
Novarro, and supporting castmate Wallace Beery (as Bo-Bo) are fine actors, but this time Bennett steals the show, especially in her destitute state. "The Red Lily" isn't one of the all-time best-looking silent films, but the Paris bars, sewers, sleek hospital, and beautiful outdoors are artful. It was directed by Fred Niblo (Bennett's husband) and photographed by Victor Milner. Turner Classic Movies shows a beautifully tinted print, nicely scored by Scott Salinas.
****** The Red Lily (9/8/24) Fred Niblo ~ Enid Bennett, Ramon Novarro, Wallace Beery, Frank Currier
Love is really all you need
greendrat27 March 2006
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.
Engaging filmmaking
ArtVandelayImporterExporter23 December 2021
I understand this was an early effort from the freshly merged Metro-Goldwyn-Meyer. The combined resources were put to good use when they hired Ramon Navarro, Wallace Beery and Enid Bennett to star, with Fred Niblo directing.
The plot is a quality melodrama about two young lovers who get separated in the big city. The action sequences are above average. The performances are top notch. The photography, the use of sets and lights, and the tinted stock all help create a first-rate look.
I bet no expense was spared.
And in this century it got an excellent soundtrack.
My favorite scene is when Navarro looks up too see Bennett's face. Camera cuts to her closeup. Very high wear & tear. I actually gasped. Back to closeup of Navarro for his reaction shot. Hearbreaking.
My not-so-minor beef is that for much of the third act after this, Navarro acts like a violent, moody ingrate. The writers should have tried harder because once the viewer loses sympathy our emotional investment is seriously side-tracked. Thus the ending does not satisfy in the way that it should.
The plot is a quality melodrama about two young lovers who get separated in the big city. The action sequences are above average. The performances are top notch. The photography, the use of sets and lights, and the tinted stock all help create a first-rate look.
I bet no expense was spared.
And in this century it got an excellent soundtrack.
My favorite scene is when Navarro looks up too see Bennett's face. Camera cuts to her closeup. Very high wear & tear. I actually gasped. Back to closeup of Navarro for his reaction shot. Hearbreaking.
My not-so-minor beef is that for much of the third act after this, Navarro acts like a violent, moody ingrate. The writers should have tried harder because once the viewer loses sympathy our emotional investment is seriously side-tracked. Thus the ending does not satisfy in the way that it should.
What Silent Movies Are All About
Maleejandra22 April 2006
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.
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.
Heart-breaking almost to the end, but beautifully acted
morrisonhimself18 September 2016
"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.
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.
"What is it?" ... "It's tomorrow."
moonspinner5519 September 2010
In a small French village, the mayor's son and the cobbler's daughter hope to someday be married but instead are separated following her father's untimely death; she's farmed-out to abusive relatives and escapes, eloping to Paris with her young man, who is then arrested by his own father. Sad-sack romantic tragedy: a compelling silent, though one which is riddled with self-pity and masochistic sentiment. Famed silent-screen producer-director Fred Niblo also worked on the screenplay, and some of the writing has a tartness which is still surprising today. There are some interesting parallels to Dennis Potter's "Pennies From Heaven"--and when Enid Bennett falls on hard times, she nearly resembles Bette Davis in the final throes of "Of Human Bondage". Bennett, actually, seems too mature to be cast as a virginal Cinderella, though leading man Ramon Novarro goes through a dramatic range of emotions with considerable skill. Novarro is occasionally melodramatic (with wild gestures), yet he manages to break through the mercilessly-contrived scenario to create a complicated character. Niblo has a good eye for heart-rending imagery (such as the shoes melted by the fireplace), though Bennett's suffering and sacrifice are tough to take. The finale ties in beautifully with an earlier scene, and Wallace Beery is amusing in wily role as a safecracker. ** from ****
Excellent silent tragedy
preppy-330 March 2006
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.
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.
Shows what some silents could do that sound films could not
AlsExGal26 December 2009
Warning: Spoilers
This film would not have been as good as it is if it had been performed with sound dialogue. It is a prime example of why silent cinema performed via pantomime is interesting today. The story is basically about how two sweet innocent people, when cruelly separated by an injustice and kept apart by bad timing, end up turning to a life of crime when left friendless on the streets of Paris. The boy, Jean, does so with gusto. Marise does so after trying all forms of manual labor to scrape by and getting whacked to the curb one too many times by the closing of factories where she has found employment, and even by being fired by a boss when she rejects his advances.
One of the most shattering scenes to me is when Marise (Enid Bennett) rescues from the police someone whom she thinks is just some random man on the streets of Paris. Instead, it is her former fiancé, Jean (Ramon Navarro) turned into the thief he was wrongly accused of being years before. When he sees her haggard face compared to "the face of an angel" memory, and sees what she has been reduced to in terms of making a living, he turns all of his anger on her. At first she is ashamed, blurting out excuses, but soon she accepts his derision as what you feel she has become accustomed to. The young man even takes her to his fellow-thief friends and laughs at her, trying to stamp out any memories of his feelings. Ramon Navarro rocks quite convincingly between loathing and love in these scenes, and although much has been justly said about Enid Bennett's performance here, I think we need to give Ramon Navarro his dues too.
This film is artfully shot and, up to the last couple of minutes, takes you to a very dark but believable place. The last two minutes are the reason I give this one eight instead of ten stars, because even though it is the ending you want to see, it does not seem plausible. Highly recommended in spite of the tacked on ending.
One of the most shattering scenes to me is when Marise (Enid Bennett) rescues from the police someone whom she thinks is just some random man on the streets of Paris. Instead, it is her former fiancé, Jean (Ramon Navarro) turned into the thief he was wrongly accused of being years before. When he sees her haggard face compared to "the face of an angel" memory, and sees what she has been reduced to in terms of making a living, he turns all of his anger on her. At first she is ashamed, blurting out excuses, but soon she accepts his derision as what you feel she has become accustomed to. The young man even takes her to his fellow-thief friends and laughs at her, trying to stamp out any memories of his feelings. Ramon Navarro rocks quite convincingly between loathing and love in these scenes, and although much has been justly said about Enid Bennett's performance here, I think we need to give Ramon Navarro his dues too.
This film is artfully shot and, up to the last couple of minutes, takes you to a very dark but believable place. The last two minutes are the reason I give this one eight instead of ten stars, because even though it is the ending you want to see, it does not seem plausible. Highly recommended in spite of the tacked on ending.
A Study of heroic love and suffering against the odds
lyrast30 January 2009
Warning: Spoilers
"The Red Lily" is an amazing film made in 1924. The print I viewed is in fine condition, beautifully tinted and there is a beautiful musical score by Scott Salinas.
The Red Lily is a powerful film which is both rewarding and emotionally draining to experience. It's most certainly not for the faint hearted. The young lovers played by Ramon Novarro {Jean} and Enid Bennett {Marise} turn in unforgettable performances as a series of terrible misfortunes separate them and each is forced to survive in a terribly unromantic and realistic Paris.
Marise, the nobler of the two, also undergoes the greater suffering which includes terrible and gratuitous victimisation by Jean, who, far from returning her love when they are reunited in Paris, hates her for not retaining the physically angelic beauty of her youth. He has coarsened and is unable to accept the deeper and more profound woman who has attained a spiritual nobility through the experience of her many dreadful trials. At one point he implies she makes easy money as a prostitute. She shows him her calloused hands and asks him if it looks as if she makes money easily. For me, Bennett's performance is even more electrifying than Novarro's, excellent and memorable though that is.
It's very hard to retain sympathy for Novarro's character. He becomes a degraded selfish thief fleeing the police through the sewers of Paris. It requires the sacrificial love of Marise--a love taken to the point of death--to redeem Jean and allow him to expiate his crimes and start a new life.
Wallace Beery is quite effective as the likable but morally ambiguous rogue, Bo-Bo. The rest of the Parisian cast present a vivid and sometimes frightening picture of the criminal underside of Paris which is likely to remain in the memory.
The film makes extensive use of coincidence. Some might feel that it does so excessively. I'll give my own personal feelings about this matter. Yes, there is a considerable amount of coincidence. But it exists in life too. Just think of how your own life may have been changed by apparent random events which just seemed to happen at a significant juncture in time. The time frame of the film takes place over a considerable period and some of the events could easily have happened. Further, the film is a work of art and it is within the provenance of Art to select and organise events so as to enable the plot to dramatise the great themes of Life and experience. This has always been the case. Thomas Hardy consciously created "Murphy's Law" plots within which the absolute worst possibility always occurred--even if this might not be the most logical way things should work out. But he did this because it was necessary to create his nihilistic vision of life. Dickens made even more spectacular use of coincidence than Hardy and was an even greater artist with a more profound vision.
While clearly each viewer must individually determine whether or not "The Red Lily"goes beyond the limits of believability in its use of coincidence, I feel that far from being a flaw, the ironic nature of the plot is one of the features that makes the film so emotionally charged and causes the conclusion to be so warm.
The Red Lily is a powerful film which is both rewarding and emotionally draining to experience. It's most certainly not for the faint hearted. The young lovers played by Ramon Novarro {Jean} and Enid Bennett {Marise} turn in unforgettable performances as a series of terrible misfortunes separate them and each is forced to survive in a terribly unromantic and realistic Paris.
Marise, the nobler of the two, also undergoes the greater suffering which includes terrible and gratuitous victimisation by Jean, who, far from returning her love when they are reunited in Paris, hates her for not retaining the physically angelic beauty of her youth. He has coarsened and is unable to accept the deeper and more profound woman who has attained a spiritual nobility through the experience of her many dreadful trials. At one point he implies she makes easy money as a prostitute. She shows him her calloused hands and asks him if it looks as if she makes money easily. For me, Bennett's performance is even more electrifying than Novarro's, excellent and memorable though that is.
It's very hard to retain sympathy for Novarro's character. He becomes a degraded selfish thief fleeing the police through the sewers of Paris. It requires the sacrificial love of Marise--a love taken to the point of death--to redeem Jean and allow him to expiate his crimes and start a new life.
Wallace Beery is quite effective as the likable but morally ambiguous rogue, Bo-Bo. The rest of the Parisian cast present a vivid and sometimes frightening picture of the criminal underside of Paris which is likely to remain in the memory.
The film makes extensive use of coincidence. Some might feel that it does so excessively. I'll give my own personal feelings about this matter. Yes, there is a considerable amount of coincidence. But it exists in life too. Just think of how your own life may have been changed by apparent random events which just seemed to happen at a significant juncture in time. The time frame of the film takes place over a considerable period and some of the events could easily have happened. Further, the film is a work of art and it is within the provenance of Art to select and organise events so as to enable the plot to dramatise the great themes of Life and experience. This has always been the case. Thomas Hardy consciously created "Murphy's Law" plots within which the absolute worst possibility always occurred--even if this might not be the most logical way things should work out. But he did this because it was necessary to create his nihilistic vision of life. Dickens made even more spectacular use of coincidence than Hardy and was an even greater artist with a more profound vision.
While clearly each viewer must individually determine whether or not "The Red Lily"goes beyond the limits of believability in its use of coincidence, I feel that far from being a flaw, the ironic nature of the plot is one of the features that makes the film so emotionally charged and causes the conclusion to be so warm.
One of the Best Films of the Era
hindenburg410 July 2006
"The Red Lily" is an excellent silent film. I just recently saw the film on Television. The restoration and the music score is wonderful. The plot of two lovers who run away to be married and are separated is tragic and sucks you right into the story. You just can't look away. The two separate ways their lives go, basically into the gutter for both of them is truly heartbreaking. The cast for the film was wonderful. The Actors were not stale, or overly exaggerated, but natural. Fred Niblo was an excellent choice for a director. Every frame from beginning to end was a work of art. I have seen many films directed by Fred Niblo, but I think this is one of his best works.
Overall, I will give this film a 9/10 I also highly suggest the film "Sunrise: A Song of Two Humans" (1927)
Overall, I will give this film a 9/10 I also highly suggest the film "Sunrise: A Song of Two Humans" (1927)
A Beautiful Film Pregnant With Infinite Sadness
FerdinandVonGalitzien4 April 2009
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/
"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/
REALLY old fashioned and dated compared to most silent melodramas
planktonrules10 July 2006
Warning: Spoilers
This just came on TCM and I was thrilled to see that the print was in such pristine condition. This, combined with an excellent musical score, made the viewing experience better than the average silent.
However, once the story began, it was obvious that this was an incredibly dated film--a very, very old fashioned melodrama that just groans and creeks with age. There are way too many coincidences and contrived situations to make this a good movie. On top of that, towards the end there is a lot of moralizing--enough that I just couldn't wait for it to end.
Instead of rehashing the movie, I want to mention a few reasons why this film is so poorly written and full of trite and impossible to believe plot devices. First, when Ramon Novarro escaped after he was spirited away from the train station by police, he returns almost to the second when his fiancé leaves. Second, after having been sitting along the river pining for her missing love, she gets up and leaves and only a few feet away is this man, though they never spot each other. Third, as Ramon is running from the police, they shoot at him and she jumps in front of him--taking the bullet herself. Fourth, after spending most of the movie whining about how he lost his fiancé and would do anything to find her, when he does meet her he tells her she looks ugly and slugs her! There were many more inexplicable or almost impossible to believe moments--so many that it really isn't a coherent drama but hokum.
However, once the story began, it was obvious that this was an incredibly dated film--a very, very old fashioned melodrama that just groans and creeks with age. There are way too many coincidences and contrived situations to make this a good movie. On top of that, towards the end there is a lot of moralizing--enough that I just couldn't wait for it to end.
Instead of rehashing the movie, I want to mention a few reasons why this film is so poorly written and full of trite and impossible to believe plot devices. First, when Ramon Novarro escaped after he was spirited away from the train station by police, he returns almost to the second when his fiancé leaves. Second, after having been sitting along the river pining for her missing love, she gets up and leaves and only a few feet away is this man, though they never spot each other. Third, as Ramon is running from the police, they shoot at him and she jumps in front of him--taking the bullet herself. Fourth, after spending most of the movie whining about how he lost his fiancé and would do anything to find her, when he does meet her he tells her she looks ugly and slugs her! There were many more inexplicable or almost impossible to believe moments--so many that it really isn't a coherent drama but hokum.
Wonderful
Piratesinspace20 April 2006
I adore this film. It's touching right to the heart. It was on the AMC channel one night and I happened to catch it. I was pleasantly surprised by how well the film kept my attention, regardless to the fact that it was silent. Usually, silent films tend to be boring at points, if you aren't use to them, but not this one. It was well written, and the music goes perfectly with the story. I have never seen a better silent film (yet, if there is one?). But I would advise that the plot isn't a light-hearted one , and although it has its romantic moments, I see this movie as more of a film for a rainy day, rather than for a date night, etc. But if you haven't seen this film, I strongly recommend it, even if you're not the silent film "type".
Sad love story...
alicenseason9 January 2007
I absolutely loved this movie. It made me nearly cry a few times. I felt really torn and nervous during much of the film. I felt so bad for Enid's character much of the time. Ramon Novarro is excellent, he later when onto the 1925 version of Ben Hur. Also, it was nice to actually see a film of Enid's because I don't think many have survived and I had read about her previously so it was really exciting to see some work of hers! I loved how the night scenes were filmed in an orange-ish color. I've always wondered how they did that back before they had many special effects? I really I could find it on DVD because on TCM there are no commercials and I had to get up a few times during the movie. I'm really happy that it was restored and shown on TCM. I recommend it! If you see it on TCM, make sure to go to the bathroom before so you don't miss any of it!
I agree with the comments except the last one
mmarteen31 July 2006
Warning: Spoilers
I enjoyed this movie immensely, the photography alone kept me glued to the screen in a way that most Silents don't. I think the poster above was looking for a more realistic film. You just don't get that in these early movies, the technology is too primitive. The films that try to attempt that kind of realism in this period usually fail. Even Newsreel footage from the time looks stagy and contrived. The most sophisticated films IMHO are the ones where the story and direction actually use the jerkiness of the medium to present coincidences for humor or pathos. In the Red Lily we've got both lucky coincidences (the wagon missing the train) and unlucky (innoportune death, the protagonists just missing each other, etc.) As for the realism of the actors' behavior, Jean is in love with an ideal version of Marise, by the end he realizes in the hospital that she is the same woman he fell in love with and that both of them have changed. It's a subtle point.
I don't see any preachiness to this film, none of the characters are all good, they turn their lives around after realizing that their lives have something of value (love, each other). Sunrise, which you recommend I found much preachier than the Red Lily, although it has some of the same themes. City Bad, Country good. Chaste Love and family life is better than Sex, Drugs and Rock and Roll etc. For one thing, in Sunrise most of the evils are implied whereas we get a tour of the bars and brothels of Paris to get a taste of the fun, uninhibited side of Paris life as well as its inevitable downside.
I don't see any preachiness to this film, none of the characters are all good, they turn their lives around after realizing that their lives have something of value (love, each other). Sunrise, which you recommend I found much preachier than the Red Lily, although it has some of the same themes. City Bad, Country good. Chaste Love and family life is better than Sex, Drugs and Rock and Roll etc. For one thing, in Sunrise most of the evils are implied whereas we get a tour of the bars and brothels of Paris to get a taste of the fun, uninhibited side of Paris life as well as its inevitable downside.
A little depressing, but powerful
gbill-7487727 September 2019
A couple of lovers who have eloped to Paris but get separated at the train station with disastrous results. It's a melodramatic and contrived story in that 19th century fiction sort of way, and as a warning, the female lead (Enid Bennett) takes quite a lot of abuse. We see her whipped by her uncle, sexually harassed at a menial job, and violently punched by the man who said he'd marry her (Ramon Novarro) when he discovers her living in squalor. It's a little depressing to watch.
On the other hand, there is so much power in her words "Must I go through all this again?", which hint that we're only seeing a part of it, and the film is certainly sympathetic to her. The cast is also excellent, starting with Bennett, who conveys such earnestness and emotion in her eyes. She really made me think of the line "We didn't need dialogue. We had faces!" from Sunset Boulevard, and I need to seek out more of her films. Her reaction in the scene where Novarro finds his "angel face" no longer made up and worn down by hardship, showing hope, fear, embarrassment, and love is simply fantastic. Novarro is quite good too, as is Wallace Beery, who plays a petty thief who has at least a little heart, but who also is a bad influence. I found in interesting that we also see a character who appears openly gay along with another who is cross-dressing, though they're in a den of iniquity and likely present to amplify the idea that this is a perverse place. The production value is pretty high, with lots of well framed shots and a great use of light and shadow especially during a thunderstorm scene by director Fred Niblo.
On the other hand, there is so much power in her words "Must I go through all this again?", which hint that we're only seeing a part of it, and the film is certainly sympathetic to her. The cast is also excellent, starting with Bennett, who conveys such earnestness and emotion in her eyes. She really made me think of the line "We didn't need dialogue. We had faces!" from Sunset Boulevard, and I need to seek out more of her films. Her reaction in the scene where Novarro finds his "angel face" no longer made up and worn down by hardship, showing hope, fear, embarrassment, and love is simply fantastic. Novarro is quite good too, as is Wallace Beery, who plays a petty thief who has at least a little heart, but who also is a bad influence. I found in interesting that we also see a character who appears openly gay along with another who is cross-dressing, though they're in a den of iniquity and likely present to amplify the idea that this is a perverse place. The production value is pretty high, with lots of well framed shots and a great use of light and shadow especially during a thunderstorm scene by director Fred Niblo.
In normal countries such as Sweden, Finland, Germany, and Norway . . .
tadpole-596-91825630 January 2019
Warning: Spoilers
. . . when a young girl is orphaned, a caring welfare organization--often working as part of or in close coordination with the government--insures her well-being. Unfortunately, this is NOT the case in many lesser so-called nations, such as the one where THE RED LILY faces her Fate Worse than Death. One of the many regions under the sway of a notorious sex cult whose leaders (numbering in the thousands) have been fingered in Real Life as the Prime Suspect Perverts preying upon gullible male and female victims of all ages (numbering in the millions!), RED LILY "Marise" is only 14 and never been flicked at the time of her bereavement. The top local official immediately labels Marise as a "shameless pauper," and evicts her from her hometown (in keeping with the teachings of his Cult). She is dragged off to the godless city featuring the World's most famous "Cathedral," where young orphan girls are forced to become hookers or starve to death--especially if they possess "the face of an angel" like Marise. THE RED LILY exposes the putrid underbelly of a rancid society overrun by holier-than-thou hypocrites and demons in human form. When losing wars is a nationality's only claim to fame, it's not surprising to see them exposed as shameless warehouse proprietors to boot!
the colors of France's underside
lee_eisenberg2 July 2021
Warning: Spoilers
"The Red Lily" is probably not a movie that you'll immediately recognize, but it's one that you should see. Focusing on a pair of lovers separated by forces beyond their control, Fred Niblo's movie uses tints to tell the story. When Jean (Ramon Novarro) and Marise (Enid Bennett) are together, it's red, evoking romance. But shift to another scene, and it's gray, evoking despair. The shifts continue throughout the movie.
This movie has made me want to watch more of Niblo's movies. If this is any indication, he had a masterful directing style. Here he uses it to show the plight of France's underclass. Definitely see the movie.
This movie has made me want to watch more of Niblo's movies. If this is any indication, he had a masterful directing style. Here he uses it to show the plight of France's underclass. Definitely see the movie.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
