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The Red Mill (1927)

Passed  -  Comedy | Romance  -  29 January 1927 (USA)
8.2
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Ratings: 8.2/10 from 1,014 users  
Reviews: 14 user | 2 critic

A silent version of the Victor Herbert-Henry Blossom operetta

Director:

(as William Goodrich)

Writers:

(adaptation), (from the musical comedy by), 1 more credit »
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Title: The Red Mill (1927)

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Cast

Complete credited cast:
...
Tina
...
Dennis
...
Gretchen
...
Willem (as George Siegman)
...
Captain Jacop
Russ Powell ...
Burgomaster (as J. Russell Powell)
Snitz Edwards ...
Caesar
William Orlamond ...
Governor
Ignatz ...
Himself - a Mouse
Edit

Storyline

A silent version of the Victor Herbert-Henry Blossom operetta

Plot Summary | Add Synopsis

Plot Keywords:

winter | windmill | well | wedding | tavern | See All (31) »

Genres:

Comedy | Romance

Certificate:

Passed | See all certifications »
Edit

Details

Country:

Language:

Release Date:

29 January 1927 (USA)  »

Also Known As:

A vörös malom  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(2006 alternate)

Sound Mix:

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Trivia

Barred from working under his own name by Will Hays after the 1922 scandal, Roscoe "Fatty" Arbuckle deliberately selected a pseudonym, Will B. Goodrich, that spelled out "Wlll Be Good." See more »

Connections

Featured in The Big Parade of Comedy (1964) See more »

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User Reviews

 
Delightfully restored on TCM, one of Marion Davies' best comedies...
9 April 2007 | by (U.S.A.) – See all my reviews

The good news is that even the title cards have a wit and humor that is carried over beautifully onto film under Fatty Arbuckle's direction for THE RED MILL, based loosely on a Victor Herbert operetta.

Quaint is a good word to describe the costumes and settings of the Dutch tale, which opens with a charming ice skating sequence that is played for laughs and largely succeeds because of the clever acting of MARION DAVIES and OWEN MOORE. The tale that follows is a case of mistaken identity, with Moore confusing Davies with the burgonmaster's daughter LOUISE FAZENDA, who is engaged in a comical relationship with someone else.

Davies has never been better at establishing herself as a comedienne from the start, given lots of bits of business (on and off the ice), including the stay in a haunted mill that occupies that last fifteen minutes of the story and is a good mixture of laughter and fright.

Technically, the film looks great with TCM's restoration and a bouncy score that accompanies rather than distracts (as some of the new scores do). Very worthwhile Marion Davies vehicle shows that she did indeed have promise as more than Hearst's favorite protégé.

Trivia note: The sets and costumes cry out for early Technicolor but only the night scenes are shaded a blue tint.


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