Norma Shearer began her career playing bit parts in 1920. Four years later she reached stardom in a series of hit films like "He Who Gets Slapped"(MGM,1924) and "The Snob"(MGM,1924) but it is this beautifully done film released in early 1925 that made her a top MGM star. She plays a good girl and a bad girl and is just marvelous in both roles. The film is not long on story but Monta Bell's excellent direction and Norma's superb acting make this silent film so much more. The forgotten George K. Arthur lends fine support but it is Norma at her silent era peak that makes this a must see. SHe is just great in the hooker role-a forerunner of the racy roles she would excel in during the early talkie period.
22 Reviews
Very watchable silent film with Norma Shearer in dual role...
Doylenf27 October 2010
TCM is showing a very crisp print of LADY OF THE NIGHT, tinted throughout in shades of blue, yellow, orange, sepia, etc. and giving it a more interesting look than most of the B&W films of that era. It's accompanied by a very perky score by Jon Mirsalis that captures the feel of the story with style.
NORMA SHEARER has the chance to play two roles, a poor girl from the wrong side of the tracks and a rich society girl--with both of them in love with leading man MALCOM McGREGOR. The stories are blended because the poor girl is the daughter of a criminal sentenced to life in prison and the rich girl is the daughter of the judge who sentenced him.
Camera work is marvelous in scenes where Shearer acts with herself, technically excellent in the manner the actress is photographed for the dual scenes. Particularly clever is the use of tinted photography to make the story more vivid.
For Shearer fans, this is a must see since this is really a minor gem in her career. She's equally convincing as Molly, the gum-chewing gal who knows she's not respectable enough to win the love of the inventor she has helped, and the quiet and thoughtful rich girl who realizes that poor Molly really has first claim on McGregor's heart.
The ending manages to be a mixture of sadness and brightness, a satisfying conclusion to an interesting and poignant tale about the whims of true love when it comes to wealth and poverty.
NORMA SHEARER has the chance to play two roles, a poor girl from the wrong side of the tracks and a rich society girl--with both of them in love with leading man MALCOM McGREGOR. The stories are blended because the poor girl is the daughter of a criminal sentenced to life in prison and the rich girl is the daughter of the judge who sentenced him.
Camera work is marvelous in scenes where Shearer acts with herself, technically excellent in the manner the actress is photographed for the dual scenes. Particularly clever is the use of tinted photography to make the story more vivid.
For Shearer fans, this is a must see since this is really a minor gem in her career. She's equally convincing as Molly, the gum-chewing gal who knows she's not respectable enough to win the love of the inventor she has helped, and the quiet and thoughtful rich girl who realizes that poor Molly really has first claim on McGregor's heart.
The ending manages to be a mixture of sadness and brightness, a satisfying conclusion to an interesting and poignant tale about the whims of true love when it comes to wealth and poverty.
Norma's good as the "bad" girl
mgconlan-126 September 2006
This is a pretty straightforward silent romantic melodrama, and it's unclear why Norma Shearer was cast in a dual role when the two characters are not related and there's nothing in the plot that requires them to look at all alike, but it's made interesting by the excellent performance Shearer turns in as Molly. Florence is a typical goody-good Shearer characterization but Molly is a much more fascinating character, not really a "bad" girl but a young woman who's living by her wits, close enough to the underworld to be involved with a shady character like "Chunky" Dunn but decent enough to steer the hero away from criminal temptations. Beautifully made up and costumed (those feathers in her hat seem to have a life of their own!), Shearer as Molly turns in a sensitive performance, alive to the pathos of the character: it's a real pity she didn't make more films playing roles like this instead of the impossibly good heroines (like Florence in this film) for which she became known. (Incidentally the print I saw on Turner Classic Movies ran only 64 minutes and did not contain a two-strip Technicolor sequence a real pity since I like the look of two-strip and am always glad when I can see a well-preserved example of it.)
Decent Silent
Michael_Elliott30 May 2009
Lady of the Night (1925)
** 1/2 (out of 4)
Norma Shearer plays dual roles in this film, which was out of the public eye for many years until eventually being rescued by Turner Classic Movies in 2006. They remastered the film and added a wonderful musical score by Jon Mirsalis. In the film Shearer plays Molly, a girl who grew up in a reform school after he father was sent to prison when she was born. Florence, also played by Shearer, is a rich girl who grew up with everything she needed. As adults the two women remain strangers but they both end up falling in love with an inventor (Malcolm McGregor) and soon will have to face another another. Okay, there was a review of this movie in the San Francisco Examiner, which called this movie a masterpiece and one of the all-time greats and this got expectations high for many, many people but then many were letdown when they actually got to see the film. I would be one of them because while the performances are good the story itself was a complete mess. Not only was the story completely unoriginal, it's also very lazy and it really doesn't try to do anything special. The IMDb lists a 70-minute running time but the edition prepared by TCM ran 64-minutes. I'm curious if the film originally ran longer because there are several plot gaps throughout the film including any type of backstory explaining why Molly was in a reform school. Shearer is very good in both of her roles but I prefer her as Florence. I think she brings a lot of heart and soul to both women but at times Molly rubbed me the wrong way. It's also worth noting that Joan Crawford was the body double used here so whenever you see Shearer from behind you're actually seeing Crawford. In the end, silent buffs will want to watch this early production from MGM but it's doubtful others will find too much entertainment here.
** 1/2 (out of 4)
Norma Shearer plays dual roles in this film, which was out of the public eye for many years until eventually being rescued by Turner Classic Movies in 2006. They remastered the film and added a wonderful musical score by Jon Mirsalis. In the film Shearer plays Molly, a girl who grew up in a reform school after he father was sent to prison when she was born. Florence, also played by Shearer, is a rich girl who grew up with everything she needed. As adults the two women remain strangers but they both end up falling in love with an inventor (Malcolm McGregor) and soon will have to face another another. Okay, there was a review of this movie in the San Francisco Examiner, which called this movie a masterpiece and one of the all-time greats and this got expectations high for many, many people but then many were letdown when they actually got to see the film. I would be one of them because while the performances are good the story itself was a complete mess. Not only was the story completely unoriginal, it's also very lazy and it really doesn't try to do anything special. The IMDb lists a 70-minute running time but the edition prepared by TCM ran 64-minutes. I'm curious if the film originally ran longer because there are several plot gaps throughout the film including any type of backstory explaining why Molly was in a reform school. Shearer is very good in both of her roles but I prefer her as Florence. I think she brings a lot of heart and soul to both women but at times Molly rubbed me the wrong way. It's also worth noting that Joan Crawford was the body double used here so whenever you see Shearer from behind you're actually seeing Crawford. In the end, silent buffs will want to watch this early production from MGM but it's doubtful others will find too much entertainment here.
Romantic drama from director Monta Bell
AlsExGal3 May 2023
A judge (Fred Esmelton) sentences a man (Lew Harvey) to 20 years in prison. Cut to 18 years later, and the judge's daughter Florence (Norma Shearer) is graduating from finishing school, a privileged young lady ready for society. Meanwhile, across town, the convict's daughter Molly (also Norma Shearer) is getting released from reformatory school, with no prospects for a future. Molly and her friends quickly turn to prostitution, with Molly "taken care of" by Chunky Dunn (George K. Arthur). Molly meets handsome inventor Dave (Malcolm McGregor), and quickly falls for him and his possibility of a brighter future. But Dave meets Florence while seeking backing for one of his inventions, and falls for the more reputable girl. Also featuring Dale Fuller, Gwen Lee, and Betty Morrissey.
I think this may be my favorite performance by Shearer. While she's the usual wet-blanket as the goodie two-shoes Florence, she's alive, vibrant and real as the hard-bitten Molly. The plot and secondary characters are largely forgettable, with the exception of Molly's friends. 19-year-old Joan Crawford sort of makes her screen debut as Shearer's body double whenever her two characters share the screen. Crawford can fleetingly be seen made-up as the Molly character during one brief moment when Florence and Molly embrace, as well.
I think this may be my favorite performance by Shearer. While she's the usual wet-blanket as the goodie two-shoes Florence, she's alive, vibrant and real as the hard-bitten Molly. The plot and secondary characters are largely forgettable, with the exception of Molly's friends. 19-year-old Joan Crawford sort of makes her screen debut as Shearer's body double whenever her two characters share the screen. Crawford can fleetingly be seen made-up as the Molly character during one brief moment when Florence and Molly embrace, as well.
Predictable
hcoursen3 June 2007
Warning: Spoilers
The strength of this one is the way the camera tells the story -- beautifully. The film justifies the artistry often claimed for silent films. The weakness of the film is the story itself. It starts out like "A Place in the Sun" (George Stevens' great film of 1951), with an ambitious young man loved by a lower class woman and an aristocrat. Dreiser's 'An American Tragedy,'on which the Stevens film was based was published in the year of 'Woman of the Night' (1925). But the film becomes conventional, when Molly decides that Chunky will at least be a lot of laughs. The fact that the two women do look alike, in spite of the makeup and garish costumes that Norma's Molly wears, is not exploited. The "double story" a la 'Dorian Gray,' 'Jeykll and Hyde,' Poe's 'William Wilson,' Dostoyevski's 'The Double,' James' 'Jolly Corner,' and Conrad's 'The Duel' is not told, so there's no point in having Shearer play both women. In fact, Joan Crawford, who must have just changed her name from Lucille LeSueur, plays Molly when the two women are on screen. I wonder how Crawford felt later, when Shearer got all the parts that Thalberg bought for her during the early days of talkies. Crawford told us when she commented on Shearer and Howard in the 1936 'Romeo and Juliet': "I couldn't wait for those two old turkeys to die -- could you?"
Watch it for Shearer
gbill-748771 April 2021
Not much of a story, but the dual roles provided Norma Shearer with a great opportunity to show off her acting ability, and she doesn't disappoint.
Here's what Mick LaSalle had to say about one of the film's lovely moments: "The most elegant example of a Bell moment comes in Lady of the Night (1925). A beam of light shines through a hole in a shade onto a table. A man thinks about the woman he is about to lose and idly tries to trap the light in his palm. The image is a commentary on the nature of longing, and also on the medium of motion pictures. Splendor and life are contained in a ray of light that is there but not there - that can't be touched, only seen."
Here's what Mick LaSalle had to say about one of the film's lovely moments: "The most elegant example of a Bell moment comes in Lady of the Night (1925). A beam of light shines through a hole in a shade onto a table. A man thinks about the woman he is about to lose and idly tries to trap the light in his palm. The image is a commentary on the nature of longing, and also on the medium of motion pictures. Splendor and life are contained in a ray of light that is there but not there - that can't be touched, only seen."
Pretty good silent film, though not especially deep or memorable
planktonrules25 September 2006
Warning: Spoilers
This is a pretty good film starring Norma Shearer in dual roles--as two different women in love with the same man. The acting is just fine and the film is still very watchable today, but I also feel that it's an awfully forgettable film as well--worth a look, but it won't change your life. Most of this is due to the simplicity of the plot and the fact that there really isn't that much tension in the film. The nice guy that the poor lady ("Norma #1") fell for really didn't love her, while the rich lady ("Norma #2) did--so it seems pretty obvious which "Norma" will end up with the guy in the end. Plus, when it becomes obvious that both women desperately loved the guy, the poor Norma just walks away and wishes them luck,...and there just doesn't seem to be any sparks or action. I didn't want a cat fight or anything, but to just walk away so quickly and without even a whimper was too anticlimactic. In addition, the message that nobility can be found in the poor as well as the rich is pretty obviously conveyed, though despite all the obviousness about the film, it is still pretty good and compares reasonably well with the many silent films I have watched.
Love Quadrangle
movingpicturegal6 October 2006
Norma Shearer is terrific playing a dual role in this well-done silent film about two women - Molly, the daughter of a convict and Florence, the daughter of the judge who sentenced him. Molly of the heavily painted face, huge feather hat, and big beaded necklace, lives in a flat on the wrong side of the tracks and goes out with a little local named Chunky. But while out at the nearby dance hall she meets a handsome, crooked grinned lug named Dave Page, who she instantly falls in love with. Dave has invented, of all things, a device that can open any safe in the world - encouraged by Molly to "not go crooked", he sells the invention to the judge and a group of bank directors, and soon literally bumps into Florence - and into a love of his own! Poor, poor Molly.
Norma Shearer is so good in this, the characters of Molly and Florence completely seem like two different women, and excellent split screen photography is used here when they are both on screen at the same time. I thought there would be something in this about the fact that the two are lookalikes, perhaps switching places or something - never happens. The fact they look alike is just not part of the plot here. The lighting is done in an interesting way in this - Norma as Florence seems to be shot in more filtered, subtle lighting and she looks very lovely - Norma as Molly is severely lit to make her look more sharp and, boy oh boy, does the thick makeup she wears as this character look really harsh - she looks almost like a prostitute here. The print of this film looked gorgeous, full of sharp contrast, and brightly tinted in sepia/orange, pink, and blue shades. The piano score for this, done by Jon Mirsalis, is wonderful and matches the story well.
Norma Shearer is so good in this, the characters of Molly and Florence completely seem like two different women, and excellent split screen photography is used here when they are both on screen at the same time. I thought there would be something in this about the fact that the two are lookalikes, perhaps switching places or something - never happens. The fact they look alike is just not part of the plot here. The lighting is done in an interesting way in this - Norma as Florence seems to be shot in more filtered, subtle lighting and she looks very lovely - Norma as Molly is severely lit to make her look more sharp and, boy oh boy, does the thick makeup she wears as this character look really harsh - she looks almost like a prostitute here. The print of this film looked gorgeous, full of sharp contrast, and brightly tinted in sepia/orange, pink, and blue shades. The piano score for this, done by Jon Mirsalis, is wonderful and matches the story well.
One Of Those Herr Bell's Small Pictures, Brief But Intense
FerdinandVonGalitzien19 December 2008
During the silent film era there were many important and famous directors who contributed with their mastery to the greatness of s film art but there were also other remarkable but not well-known film directors who also made good films. These interesting oeuvres unfortunately made little impact and are often not remembered in spite of their artistic merits. The American film director Herr Monta Bell was responsible for a number of these good (though not great) movies.
This Herr Graf likes specially Herr Bell's films, little pieces of craftsmanship in the silent era, perfectly planned and never disappointing. Herr Bell was influenced in his directorial style by Herr Ernst Lubitsch ( beside working with Herr Charles Chaplin ) and it is possible to see this in many of his films; elegant comedies, sometimes as sophisticated as the Herr Lubitsch ones, not with the German director's touch, certainly, but elegant, stylish and displaying an ironic sense of humour, anyway.
"Lady Of The Night" is not one of those remarkable Herr Bell's stylish comedies but it is certainly a good film, one of those Herr Bell's small pictures, brief but intense and with excellent final artistic results. The film depicts the story of two women from very different backgrounds; Dame Molly Hellmer and Dame Florence Banning, both played by Dame Norma Shearer in a double role. They are in love with the same youngster, a successful inventor who has a complicated task on his hands; he must sell his invention and pick the girl he will spend the rest of his life with.
The parallel stories and the different backgrounds of the two women, are depicted in detail and there is an excellent performance by Dame Shearer who expertly captures the different gestures and habits in the way both women face life; it's a "tour de force" and even though it seems simple it is actually complex. The film is also perfectly balanced, with witty editing showing transitions from Dame Molly to Dame Florence, especially at the beginning of the film. With skill and craftsmanship the film narrative goes from to a barroom dance to a luxurious mansion very smoothly, reflecting different social realities that have only one thing in common: the sufferings of love.
Herr Bell knows (as does this German count) that different social classes cannot be mixed and that's what happens in "Lady Of The Night" but in order not to disillusion the audience and keep them dreaming those impossible dreams, Herr Bell includes some humour and also an ironic and cynical ending, as happens in many of Herr Bell's films. After all, those two different girls are realistic not foolish ones and know pretty well what the future has in store for them.
And now, if you'll allow me, I must temporarily take my leave because this German Count must drink a double cocktail.
Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/
This Herr Graf likes specially Herr Bell's films, little pieces of craftsmanship in the silent era, perfectly planned and never disappointing. Herr Bell was influenced in his directorial style by Herr Ernst Lubitsch ( beside working with Herr Charles Chaplin ) and it is possible to see this in many of his films; elegant comedies, sometimes as sophisticated as the Herr Lubitsch ones, not with the German director's touch, certainly, but elegant, stylish and displaying an ironic sense of humour, anyway.
"Lady Of The Night" is not one of those remarkable Herr Bell's stylish comedies but it is certainly a good film, one of those Herr Bell's small pictures, brief but intense and with excellent final artistic results. The film depicts the story of two women from very different backgrounds; Dame Molly Hellmer and Dame Florence Banning, both played by Dame Norma Shearer in a double role. They are in love with the same youngster, a successful inventor who has a complicated task on his hands; he must sell his invention and pick the girl he will spend the rest of his life with.
The parallel stories and the different backgrounds of the two women, are depicted in detail and there is an excellent performance by Dame Shearer who expertly captures the different gestures and habits in the way both women face life; it's a "tour de force" and even though it seems simple it is actually complex. The film is also perfectly balanced, with witty editing showing transitions from Dame Molly to Dame Florence, especially at the beginning of the film. With skill and craftsmanship the film narrative goes from to a barroom dance to a luxurious mansion very smoothly, reflecting different social realities that have only one thing in common: the sufferings of love.
Herr Bell knows (as does this German count) that different social classes cannot be mixed and that's what happens in "Lady Of The Night" but in order not to disillusion the audience and keep them dreaming those impossible dreams, Herr Bell includes some humour and also an ironic and cynical ending, as happens in many of Herr Bell's films. After all, those two different girls are realistic not foolish ones and know pretty well what the future has in store for them.
And now, if you'll allow me, I must temporarily take my leave because this German Count must drink a double cocktail.
Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/
luminous and poignant
cheeseplease26 July 2004
I saw this silent film at the SF Silent Film Festival in 2004 as well, and it was the highlight of the festival for me. Norma Shearer at her best, and Monta Bell absolutely brilliant. I was amazed by how the narrative was so well told through multiple simple, powerful visual moments, and succinct, thoughtful words. The print was beautiful and crisp.
I hope this film comes out on DVD. It's a silent film that is so subtle, contemporary, and accessible that it defies some stereotypes of silent films as overly dramatic gesturing fests.
I hope this film comes out on DVD. It's a silent film that is so subtle, contemporary, and accessible that it defies some stereotypes of silent films as overly dramatic gesturing fests.
Good but nothing exceptional
preppy-37 November 2010
Norma Shearer plays two roles here. One is Florence Benning who was bought up in a privileged life. The other is the polar opposite--Molly Helmer who is introduced leaving reform school! She's dating nice but stupid Chunky Dunn (George K. Arthur). Then Molly meets handsome David Page (Malcolm McGregor) who likes her...as a friend. He then meets Florence and falls for HER! It ends pretty predictably.
This is well-done. There are quite a few nice directorial touches her and there and Shearer is great in BOTH roles...but there's nothing new here. It was done before and has been done since. This one at least DOES run quick (a little over an hour). It's also fun to see Shearer in a silent picture--I thought she only did talkies! So worth catching for Shearer fans but no great shakes.
This is well-done. There are quite a few nice directorial touches her and there and Shearer is great in BOTH roles...but there's nothing new here. It was done before and has been done since. This one at least DOES run quick (a little over an hour). It's also fun to see Shearer in a silent picture--I thought she only did talkies! So worth catching for Shearer fans but no great shakes.
As one might guess from this flick's title . . .
oscaralbert10 April 2018
Warning: Spoilers
. . . LADY OF THE NIGHT traces the career of a "working girl," who develops a crush on a young inventor after he decks her abusive pimp during a barroom brawl. Since LADY OF THE NIGHT originally was released by the despicable Millionaire Guys Mob film studio, whose main purpose was to brainwash Americans into thinking that there was NO possibility of "Upward Mobility" in the USA, hooker "Molly's" inventor\beau "Dave" is soon snatched away from her by an insipid Society airhead named "Flo." To drive home their moral about the hopelessness of Economic Predestination, these high-hat filmmakers have the same actress portray BOTH harlot Molly and the haughty Flo! This is the film studio's way of indoctrinating Americans that even when Rich People are identical to we normal folks (that is, one and the same) they'll always be Fate's Chosen Ones just because they were born Wealthy. (This lesson has been so thoroughly lapped up by the Working Stiffs that they'll now tolerate ANY billionaire bozo in the Oval Office, even if it's clear to the whole World that the Tweeting Jerk would be unfit to be elected Rat Catcher had he been born Poor.)
Nice silent
xan-the-crawford-fan13 November 2021
While not a masterpiece in the true sense of the word, Lady Of The Night is a masterpiece in ways that you wouldn't expect. The story is predictable, yes, and the intertitles aren't the best, but acting and the mood captured in the film as a whole are splendid.
A prisoner only gets to see his daughter for a little while before he is imprisoned again. The judge who sentences him has a daughter the same age. Eighteen years pass, and the two girls grow up. One is kind, sweet and respectable Florence. The other is loud, bawdy (and implied to be a prostitute) Molly. Neither of them know each other until an inventor named David comes into their lives. He likes Molly as a friend, but she falls in love with him. When he meets Florence, their love goes both ways. It is not hard to guess what happens next.
I revisited this film after immersing myself in Norma Shearer films, good and bad. This one is, I believe, one of her best performances. The amazing part is that Molly and Florence are not twins, but rather completely different women. They come from different classes, and that is made very clear. They have hopes, desires, and romances. You can root for both characters, as the writers didn't go down the very clichéd "one is good and one is evil" route. Neither of them are evil. There is just a difference in social standing. Florence is the daughter of a respected judge. Molly lives in the gutter. Joan Crawford made her film debut as the body double for Shearer in some scenes- in the scene where the two women meet in the car, she's the tawdry one. I only wonder if Norma Shearer could see that she'd have some competition in the future, even at that moment.
Neither of the male leads are all that interesting. Malcom McGregor as David captures the hearts of both women, and you can see why. Naturally, the one he ends up with causes the other one heartbreak, but there is a reason for this. George K. Arthur as Chunky, Molly's baby-faced (literally- he looks about eleven years old) boyfriend, is perhaps only there for some comic relief. Some of it is actually funny and some of it is just tiresome.
Monta Bell is a wizard behind the camera. He uses different colour tinted film for different scenes- the scenes with Molly (except at the beginning) are amber, the ones with Florence purple, and to show the night, he uses dark blue. There are lots of good shots to look for, lots of shots that mean more than they seem to show. Hidden emotions captured subtly. The print is in very good condition considering its age- very little crackling and acid damage. I am not sure if any scenes were lost (maybe), but if they were, it does not affect the telling of the story.
This is such a well-made film, with well done acting. If only there were a substantial plot to be encased in this, but there isn't. However, it is not tedious, and it is not tired. My rating for this one is only 6.4/10, but despite that, I do recommend it.
A prisoner only gets to see his daughter for a little while before he is imprisoned again. The judge who sentences him has a daughter the same age. Eighteen years pass, and the two girls grow up. One is kind, sweet and respectable Florence. The other is loud, bawdy (and implied to be a prostitute) Molly. Neither of them know each other until an inventor named David comes into their lives. He likes Molly as a friend, but she falls in love with him. When he meets Florence, their love goes both ways. It is not hard to guess what happens next.
I revisited this film after immersing myself in Norma Shearer films, good and bad. This one is, I believe, one of her best performances. The amazing part is that Molly and Florence are not twins, but rather completely different women. They come from different classes, and that is made very clear. They have hopes, desires, and romances. You can root for both characters, as the writers didn't go down the very clichéd "one is good and one is evil" route. Neither of them are evil. There is just a difference in social standing. Florence is the daughter of a respected judge. Molly lives in the gutter. Joan Crawford made her film debut as the body double for Shearer in some scenes- in the scene where the two women meet in the car, she's the tawdry one. I only wonder if Norma Shearer could see that she'd have some competition in the future, even at that moment.
Neither of the male leads are all that interesting. Malcom McGregor as David captures the hearts of both women, and you can see why. Naturally, the one he ends up with causes the other one heartbreak, but there is a reason for this. George K. Arthur as Chunky, Molly's baby-faced (literally- he looks about eleven years old) boyfriend, is perhaps only there for some comic relief. Some of it is actually funny and some of it is just tiresome.
Monta Bell is a wizard behind the camera. He uses different colour tinted film for different scenes- the scenes with Molly (except at the beginning) are amber, the ones with Florence purple, and to show the night, he uses dark blue. There are lots of good shots to look for, lots of shots that mean more than they seem to show. Hidden emotions captured subtly. The print is in very good condition considering its age- very little crackling and acid damage. I am not sure if any scenes were lost (maybe), but if they were, it does not affect the telling of the story.
This is such a well-made film, with well done acting. If only there were a substantial plot to be encased in this, but there isn't. However, it is not tedious, and it is not tired. My rating for this one is only 6.4/10, but despite that, I do recommend it.
Interesting, subtle silent melodrama
runamokprods6 March 2012
With very simple, touching and understated performances for a silent film, this is an interesting exploration of women's roles in the 1920s.
A 4 way love tangle ensues as two outwardly very different woman (both played very well by Norma Shearer) try to find love and meaning in life. One is a pampered rich girl, one is a tough, semi-prostitute who grew up in reform school.
But by having Shearer play both women, the film concisely and visually makes the point that they are more alike in their humanity, than different in their outward styles.
Basically a bittersweet melodrama, this rises to well above average on it's intelligence, elegant visual style and acting.
On the other hand, lot of people see this as a flat out masterpiece, but it didn't have that kind of deep effect on me, at least on first viewing. But I'll be curious to see it again.
A 4 way love tangle ensues as two outwardly very different woman (both played very well by Norma Shearer) try to find love and meaning in life. One is a pampered rich girl, one is a tough, semi-prostitute who grew up in reform school.
But by having Shearer play both women, the film concisely and visually makes the point that they are more alike in their humanity, than different in their outward styles.
Basically a bittersweet melodrama, this rises to well above average on it's intelligence, elegant visual style and acting.
On the other hand, lot of people see this as a flat out masterpiece, but it didn't have that kind of deep effect on me, at least on first viewing. But I'll be curious to see it again.
Monta Bell and Shearer
micklasall3 May 2001
Monta Bell and Norma Shearer had an actress-director collaboration as important as that of Von Sternberg and Dietrich. And deeper. For while Sternberg never tired of exploring the planes of Dietrich's face, Bell explored Shearer's soul -- and through her, explored the moral nature of American women in the pivotal decade of the 1920s. All three of their extant films are to be cherished, but this is their absolute masterpiece.
Shearer is gorgeous and beautifully directed.
SeanMartinfield11 July 2004
A new print of this film was screened in San Francisco at the July 2004 Silent Film Festival, with live original piano accompaniment. For Shearer fans, an unbelievable treat. She plays two roles, displaying a unique sensitivity to each character's situation. Even though the script is sparse, Monta Bell's direction and usage of prolonged portrait shots pulls the viewer into a deep understanding of the parallel stories. For trivia fans: Norma really had her eyes under control for this one! There are more 3/4 and full-faced shots than I have ever seen or could hope for. She more than deserves the on-going introduction of, "The lovely Norma Shearer." We must have a DVD of this one!
Monta Bell and Norma Shearer - a Brilliant Combination!!!
kidboots5 July 2010
Warning: Spoilers
The title seems to promise more than it delivers because you know that Norma (as Molly), whether leaving reform school or being "vampy" at Kelly's Dance Hall, was always going to be a good gal at heart. It did deliver on Norma's depth as an actress however. Norma had been in the movies for 5 years and even though her films were cheaply made, they were extremely popular with the public. With Garbo's arrival at MGM, Norma felt confident of her status as a star to ask for more diverse parts. "Lady of the Night" was definitely a marked departure from her "sweet young things" - even though Flo (she played dual parts) showed she could still play pure and chaste with the best of them.
Chris Helmer is sentenced to 20 years - he leaves behind his wife and new baby daughter Molly. As he is taken away, he sees the Judge's new baby, Flo, and ponders about the "haves" and "have nots" of society. Eighteen years later while Flo is graduating from a Select Ladie's Academy, Molly is graduating - from reform school (along with buddy Gwen Lee). Molly goes to Kelly's Dance Hall - talk about dressed to kill - with spit curls, a beret and plumes, she is a real eyeful!!! She is also a real wildcat and when she receives some unwanted attention, she fights back - and how!!! She gets help from Dave Page (Malcolm McGregor), a friend of her boyfriend "Chunky" Dunn (George K. Arthur). Dave is an inventor and has invented a safe opening device. While "Chunky" wants him to sell it to some crooks he knows "they'll always play fair", Molly persuades him to do the right thing and sell it to the banks.
Dave is not like the usual types, who Molly hangs around with and she tries to make herself more respectable and just like a lady. While Dan likes her as a good friend, he has already found the girl of his dreams in Flo. Flo meets Molly in a cab and together they form a bond, even hugging - a quite inventive split screen scene. The film doesn't end in the conventional way - Molly decides to head out West with "Chunky" - for some "laughs". He never really seemed like a criminal anyway, more like a "good guy".
I really loved Norma as Molly - it was a role she could really sink her teeth into and of course with Monta Bell, she had a director of style and sophistication - together they were a brilliant combination.
Highly Recommended.
Chris Helmer is sentenced to 20 years - he leaves behind his wife and new baby daughter Molly. As he is taken away, he sees the Judge's new baby, Flo, and ponders about the "haves" and "have nots" of society. Eighteen years later while Flo is graduating from a Select Ladie's Academy, Molly is graduating - from reform school (along with buddy Gwen Lee). Molly goes to Kelly's Dance Hall - talk about dressed to kill - with spit curls, a beret and plumes, she is a real eyeful!!! She is also a real wildcat and when she receives some unwanted attention, she fights back - and how!!! She gets help from Dave Page (Malcolm McGregor), a friend of her boyfriend "Chunky" Dunn (George K. Arthur). Dave is an inventor and has invented a safe opening device. While "Chunky" wants him to sell it to some crooks he knows "they'll always play fair", Molly persuades him to do the right thing and sell it to the banks.
Dave is not like the usual types, who Molly hangs around with and she tries to make herself more respectable and just like a lady. While Dan likes her as a good friend, he has already found the girl of his dreams in Flo. Flo meets Molly in a cab and together they form a bond, even hugging - a quite inventive split screen scene. The film doesn't end in the conventional way - Molly decides to head out West with "Chunky" - for some "laughs". He never really seemed like a criminal anyway, more like a "good guy".
I really loved Norma as Molly - it was a role she could really sink her teeth into and of course with Monta Bell, she had a director of style and sophistication - together they were a brilliant combination.
Highly Recommended.
A Tale of Two Ladies
wes-connors7 October 2014
Before he is taken away in handcuffs, a father says farewell to his newborn baby girl. The unfortunate man is sentenced to 20 years in the penitentiary, by a judge who also has a newborn baby girl. The convict's baby grows up in poverty; the judge's daughter grows up wealthy. Eighteen years later, pretty débutante Norma Shearer (as Florence Banning) graduates from an exclusive finishing school. In a dual role, attractive delinquent Norma Shearer (as Molly Helmer) graduates from a girls' reform school. The central role Ms. Shearer plays in "Lady of the Night" is the latter one - "Molly" the lower class young woman...
"Molly" dates underworld pipsqueak George K. Arthur (as "Chunky" Dunn). She wears a feathered hat that looks like it would strike you blind if Shearer turned her head suddenly. She receives some unwanted attention from a sleazy man. A very handsome young inventor, Malcolm McGregor (as David "Dave" Page), intervenes and saves Shearer. She is smitten. He is interested as well, but Mr. McGregor later meets Shearer's "Florence" - and they begin to date. This makes "Molly" sad. She will have to either fight for Mr. McGregor or let him find happiness with "Florence" the more socially suitable mate...
In 2006, "Lady of the Night" was been beautifully restored for broadcast on Turner Classic Movies (TCM). This version runs 61 minutes, which suggests at least one reel's worth of running time is missing. Still, the film plays beautifully. It's possible that something implying prostitution was cut as the title "Lady of the Night" suggests this - but there is no explicit evidence in the feature. Jon Mirsalis' new musical score is marvelous, accompanying the visuals without being obvious. Shearer and director Monta Bell work wonderfully together. One of the most poetic scenes is Mr. Arthur's attempt to touch a ray of light, arriving via a hole in Shearer's window shade...
Watch for a very brief glimpse of Joan Crawford's profile in the scene where Shearer hugs Shearer. Soon to join Shearer as an MGM super-star, Ms. Crawford served as body double, due to the star playing two roles. There aren't a lot of scenes involving Shearer and Crawford. Due to the feature film's short running time, it's possible some missing footage involved the two actresses. It's also possible some unknown connection between "Molly" and "Florence" was intended; in the present version, there is no connection made and their resemblance is not noted. Nice to see Kellogg's frosted corn flakes, too. If you aren't sure about "silent" feature films, this is an appealing taste.
******** Lady of the Night (2/23/25) Monta Bell ~ Norma Shearer, Malcolm McGregor, George K. Arthur, Joan Crawford
"Molly" dates underworld pipsqueak George K. Arthur (as "Chunky" Dunn). She wears a feathered hat that looks like it would strike you blind if Shearer turned her head suddenly. She receives some unwanted attention from a sleazy man. A very handsome young inventor, Malcolm McGregor (as David "Dave" Page), intervenes and saves Shearer. She is smitten. He is interested as well, but Mr. McGregor later meets Shearer's "Florence" - and they begin to date. This makes "Molly" sad. She will have to either fight for Mr. McGregor or let him find happiness with "Florence" the more socially suitable mate...
In 2006, "Lady of the Night" was been beautifully restored for broadcast on Turner Classic Movies (TCM). This version runs 61 minutes, which suggests at least one reel's worth of running time is missing. Still, the film plays beautifully. It's possible that something implying prostitution was cut as the title "Lady of the Night" suggests this - but there is no explicit evidence in the feature. Jon Mirsalis' new musical score is marvelous, accompanying the visuals without being obvious. Shearer and director Monta Bell work wonderfully together. One of the most poetic scenes is Mr. Arthur's attempt to touch a ray of light, arriving via a hole in Shearer's window shade...
Watch for a very brief glimpse of Joan Crawford's profile in the scene where Shearer hugs Shearer. Soon to join Shearer as an MGM super-star, Ms. Crawford served as body double, due to the star playing two roles. There aren't a lot of scenes involving Shearer and Crawford. Due to the feature film's short running time, it's possible some missing footage involved the two actresses. It's also possible some unknown connection between "Molly" and "Florence" was intended; in the present version, there is no connection made and their resemblance is not noted. Nice to see Kellogg's frosted corn flakes, too. If you aren't sure about "silent" feature films, this is an appealing taste.
******** Lady of the Night (2/23/25) Monta Bell ~ Norma Shearer, Malcolm McGregor, George K. Arthur, Joan Crawford
An absolute must-see!
JohnHowardReid26 January 2018
Warning: Spoilers
Lady of the Night (1925) is most certainly one of the most beautiful pictures ever made.
Tinted and toned and presented in the most wonderful condition by Warner Archive, "Lady of the Night" is indeed most certainly an absolutely constant pleasure to look at.
The special effects are a wow too!
And as for the acting by Norma Shearer, Malcolm McGregor and George K. Arthur, they are almost is almost totally spellbinding.
Just one problem: No plot. All the clues are planted all right. But nothing happens! Nothing! Absolutely nothing!
Never mind, I'll willingly watch it all unfold again - it's just so lavishly staged by director Monta Bell, and so beautiful to look at, thanks to the artistry of photographer André Barlatier.
Tinted and toned and presented in the most wonderful condition by Warner Archive, "Lady of the Night" is indeed most certainly an absolutely constant pleasure to look at.
The special effects are a wow too!
And as for the acting by Norma Shearer, Malcolm McGregor and George K. Arthur, they are almost is almost totally spellbinding.
Just one problem: No plot. All the clues are planted all right. But nothing happens! Nothing! Absolutely nothing!
Never mind, I'll willingly watch it all unfold again - it's just so lavishly staged by director Monta Bell, and so beautiful to look at, thanks to the artistry of photographer André Barlatier.
In a League of Her Own
naught-moses3 January 2014
Actors: Watch and learn.
Most =talking= film performers haven't learned as much about the effective communication of internal processes and emotional congruence in speech =and= motion as Shearer knew about motion alone at the age of 23.
The standard of the time was "acting." This... is =being=.
If there had been a Motion Picture Academy and an awards show in 1926, Shearer would have won in a walk. And Irving would have had nothing to do with it.
Since IMDb requires ten lines, I'm forced to add the superfluous notion that though the script may have reflected the value judgments of a more belief-stricken and closed-minded -- vs. observant and open-minded -- cultural normality, "Lady..." is nevertheless right there in the ballpark with the probing of sensitivities Irving and other producers were trying hard to convey at the time. The Legion probably loathed "Lady...," but the "expansionists" came out in legions to see it.
Most =talking= film performers haven't learned as much about the effective communication of internal processes and emotional congruence in speech =and= motion as Shearer knew about motion alone at the age of 23.
The standard of the time was "acting." This... is =being=.
If there had been a Motion Picture Academy and an awards show in 1926, Shearer would have won in a walk. And Irving would have had nothing to do with it.
Since IMDb requires ten lines, I'm forced to add the superfluous notion that though the script may have reflected the value judgments of a more belief-stricken and closed-minded -- vs. observant and open-minded -- cultural normality, "Lady..." is nevertheless right there in the ballpark with the probing of sensitivities Irving and other producers were trying hard to convey at the time. The Legion probably loathed "Lady...," but the "expansionists" came out in legions to see it.
A Happy Melodrama
EdgarST11 September 2016
A happy melodrama, it avoids sentimentality but never makes up the social issues that arise in the story, which are too evident to be ignored. It is neither a great romantic tale, nor an intense drama of social climbing, although it has elements of both, but the script concocted by Alice D.G. Miller and Adele Rogers St. Johns goes for a touch of light comedy in the midst of the unrequited love affair of the "bad" girl, and entertainment for the masses in the evolution of the "good" girl's romance. Norma Shearer is good in both roles, moving in several scenes: the brilliant moments for me are those two scenes in which Shearer as Molly, the poor motherless daughter of a convict, enters two spaces with excitement and wonder in her eyes. First, the workshop of the man she loves, moving to his room and opening a closet and taking a pair of biscuits she eats sitting on his bed; and second, the luxury car of Florence, the rich motherless daughter of a judge, and her rival in love. Photographed by French cinematographer André Barlatier with sets designed by Irish art director Cedric Gibbons, "Lady of the Night" was directed with elegance and style by Monta Bell. Recommended.
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