JohnHowardReid 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.

Emaisie39 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.

movingpicturegal 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.

cheeseplease 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.