Hellen I like the storyline of this show,it attract me so much

ChanBot i must have seen a different film!!

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

wes-connors 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

Naught Moses 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.

hcoursen 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?"

micklasall 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.