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.

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.

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.

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.)