Review by Doug Gibson
Take a look at Bela Lugosi as sophisticated millionaire Nicholas Harmon (seen with co-star Dolores Cassinelli) in the 1925 silent drama, "The Midnight Girl." He's only 42; it's several years before Dracula and stardom. As Lugosi may have said in his later years, observing himself on film, "I was a handsome devil!"
Indeed he was. But he was not yet a star, although active on stage and screen by 1925. In 1924 and 1925, Lugosi had prominent roles in three films: "The Silent Command," "Daughters Who Pay," and "The Midnight Girl." Although his presence and acting ability dominates all three films, he was essentially an afterthought in studio promotions.
In "The Midnight Girl," (Chadwick Pictures Corporation) Lugosi's Harmon is a charming rogue, even amoral. He is a prominent patron of the arts, and sleeps with the singing opera diva of a top-notch production, Nina (Cassinelli). But he's likable, and fawned over by many.
Lugosi is playing -- to perfection -- the kind of role that Warren William would hone within several years. If there had not been "Dracula" waiting, one can wonder if Lugosi would have done these "charming rogue" rich-man roles in the early sound features?
Back to the plot: There's an issue. Nina is aging gracefully and still occupies Harmon's bed. (This is a pre-pre-code film; there's a risque scene where Harmond views his nearly nude mistress through a filmy obstruction. He instructs her to go to his quarters after work.) But Nina is also losing her voice on stage. Harmon needs to find a new singer for his musical pleasures.
Harmon has a stepson, Don (Gareth Hughes). Don is a bit of a stick in the mud (but maybe that is due to Hughes' lackluster acting?) Hughes is morose, fending off a money-grubbing girlfriend, and her ambitious mother. One night, in Nina's presence, Don denounces his father and Nina. The father-and-son argument results in Don leaving in a huff, saying he no longer wants his father's money.
We are finally introduced to the film's star, Lila Lee. She plays Anna a Russian refugee, poor after fleeing communist Russia. Don, who has located a job as an orchestra director for a fancy restaurant, discovers Anna. (There's a scene in a street where Don protects Anna from a young thug who later attempts revenge but it's kinda drab.) What happens is that Don, recognizing Anna's talents, provides her top billing as "The Midnight Girl" who sings at the stroke of midnight. (See the newspaper clip above) Don and Anna also fall in love.
So arrives the conflict. Nicholas goes to the restaurant to see how his son is doing on his own. The father sees his son's discovery Anna and promptly falls in love, although falls in lust is probably more accurate. Nicholas is a man who feels he should get what he wants. He's fond of, as he puts it, new kisses. The father manages to coerce Anna into his quarters, and, as mentioned, he's a man accustomed to getting, not wanting. But Anna does not want Don's dad. That provides a climax that involves Nicholas, Don, Anna and Nina.
I will not give away the ending. I do urge readers to watch this film. It's easy to find and free (here). Lugosi is absolutely magnificent in the role. The camera loves him and, again, he shines.
NOTES: Flora Finch, an early silent comedy shorts star, has a small role as Don's landlady. Finch would do well in early sound films later. The film was directed by Wilfred Noy, maternal uncle to actor Leslie Howard ("Gone With the Wind," "Pygmalion"). The film was based on a story by Garrett Fort, who later wrote scripts for "Dracula," "Frankenstein," and "Dracula's Daughter." Contemporary reviews praised Lugosi's performance. Lila Lee was a major star in silents and very early sound films. She was out of films by 1937 but returned for a handful of performances starting in 1952. Some reviews criticized the nightclub and restaurant musical performances as handicapped by a small budget. However, this reviewer thought the dancing, singing, and overall pomp very impressive.
Below are more 1920s newspaper clips of this film. The clips are courtesy of the research of my friend, David Grudt, of Long Beach, Calif. One clip shows a lawsuit resulting from the film. Also, note the ad for the Charlie Chaplin film, "The Gold Rush," which was playing at the same theater.
