The Scarlet Lady

Plot

The Scarlet Lady follows Lya, a desperate woman fleeing from pursuing Cossack soldiers during the tumultuous Russian Revolution period. She finds sanctuary at the opulent palace of Prince Nicholas, where she secures employment as his majordomo. Despite their different social stations, Lya and Nicholas develop a deep romantic connection, but their blossoming relationship is shattered when Nicholas discovers Lya's past association with a prominent Bolshevik leader. Heartbroken and expelled from the palace, Lya transforms into a dedicated terrorist, seeking revenge against the aristocracy. Years later, she encounters Nicholas again, who is now disguised as a humble servant after the revolution has upended the social order. When Nicholas is captured and sentenced to death by the new regime, Lya must choose between her revolutionary ideals and her enduring love, ultimately risking everything to rescue him and escape together to freedom.

Historical Background

The Scarlet Lady was produced during a pivotal moment in cinema history - late 1928, when the silent era was rapidly giving way to sound films. The Jazz Singer had premiered in October 1927, and by 1928, studios were scrambling to convert to sound technology. This film represents one of the last major silent dramas produced before the complete transition. The Russian Revolution setting was particularly resonant for 1928 audiences, as the events of 1917 were still fresh in public memory and the rise of communism in Russia was a major international concern. The film's themes of social upheaval, class conflict, and political transformation reflected real-world anxieties about the spread of revolutionary movements. Additionally, 1928 was a year of significant social change in America, with women's roles in society evolving rapidly following their gaining the right to vote in 1920.

Making Of

The production of 'The Scarlet Lady' faced significant challenges due to the rapidly changing film industry landscape. While filming was underway, Warner Brothers (First National's parent company) was aggressively converting to sound production. Director Alan Crosland was essentially working on two films simultaneously - this silent drama and sound sequences for other projects. The cast, particularly European import Lya De Putti, had to adapt to American filming methods while dealing with the uncertainty of whether their silent film skills would remain relevant. The production design team spent weeks researching Russian architecture and period details to create authentic-looking palace interiors, despite never having visited Russia. The film's revolutionary scenes required hundreds of extras and complex choreography to simulate street battles and political upheaval. Interestingly, the film was shot with the possibility of adding a synchronized musical score later, though this was never completed.

Visual Style

The cinematography by Hal Mohr employed sophisticated techniques characteristic of late silent era filmmaking. The film featured extensive use of dramatic lighting to create emotional contrasts between scenes of opulent palace life and revolutionary chaos. Mohr utilized deep shadows and high-contrast lighting to emphasize the moral ambiguity of the characters and the political turmoil of the setting. The revolutionary sequences employed handheld camera techniques to create a sense of immediacy and chaos, while the palace scenes featured more static, composed shots to emphasize order and tradition. The film also made extensive use of color tinting, with red tones for revolutionary scenes and blue/amber tones for romantic moments, enhancing the emotional impact without dialogue.

Innovations

While not groundbreaking in technical terms, 'The Scarlet Lady' demonstrated sophisticated use of late-silent era techniques. The film employed advanced matte painting techniques to create the illusion of expansive Russian landscapes and cityscapes. The production utilized the latest lighting equipment to create dramatic effects, particularly in the revolutionary sequences. The film's editing was particularly noteworthy for its rapid pacing during action scenes, reflecting the influence of Soviet montage theory on American filmmakers. The costume department created over 200 distinct outfits, with careful attention to historical accuracy while ensuring visual clarity for black and white photography. The film also featured innovative use of superimposition for dream sequences and memory flashbacks.

Music

As a silent film, 'The Scarlet Lady' would have been accompanied by live musical performances in theaters. The original cue sheet called for classical pieces by Russian composers including Tchaikovsky and Rachmaninoff, along with popular contemporary songs of the era. The score was designed to enhance the emotional content of each scene, with dramatic marches for revolutionary sequences and romantic themes for the love scenes. Large urban theaters would have employed full orchestras, while smaller venues used piano or organ accompaniment. The film's musical direction emphasized the contrast between aristocratic and revolutionary themes through contrasting musical styles.

Memorable Scenes

• The dramatic opening chase sequence with Lya fleeing from Cossack soldiers across snowy landscapes
• The masquerade ball where Lya and Nicholas share their first dance, their identities hidden behind masks
• The revolutionary street battle with hundreds of extras creating chaos and destruction
• The emotional confrontation where Nicholas discovers Lya's Bolshevik past
• The climactic prison rescue where Lya disguises herself to save Nicholas from execution

What Critics Said

Contemporary critics praised the film's dramatic intensity and Lya De Putti's passionate performance. The New York Times noted that 'Miss De Putti brings a fiery intensity to her role that elevates the material beyond typical melodrama.' Variety appreciated the film's timely political themes but felt the plot was somewhat conventional. Modern film historians regard 'The Scarlet Lady' as an interesting example of late-silent era filmmaking that successfully incorporated contemporary political concerns into a romantic drama framework. The film is often cited in studies of how Hollywood depicted the Russian Revolution, with scholars noting its relatively balanced portrayal of both revolutionary and aristocratic perspectives. Critics today particularly value the film for preserving Lya De Putti's screen presence, as many of her European films have been lost.

What Audiences Thought

The film received moderate audience response upon its release in late 1928. Moviegoers were increasingly drawn to sound films, which limited the commercial success of silent productions. However, fans of Lya De Putti and dramatic films found much to appreciate in the romantic storyline and political intrigue. The film's Russian setting and revolutionary themes resonated with audiences interested in current events, particularly those with family connections to recent European immigration. The dramatic rescue sequence at the film's conclusion was particularly popular with audiences. In retrospect, the film has developed a cult following among silent film enthusiasts who appreciate its representation of the transition period between silent and sound cinema.

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