I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Period piece based on the novel by George Eliot. And what a period piece it is! MGM must have spent a ton of money recreating the costumes, atmosphere and architecture of 15th century Florence. The detail is meticulous and lends the feeling of a modern production taking place 6 centuries ago. I have not read the book but I wonder if it reads better than it translates to the big screen. The film is long - longer than most films of the silent era, and at times tends toward tedium. In fact, it is downright dull in spots, and those spots overtake those of interest. Makes you think it could have a used a little heavier hand in the cutting room. The cast is excellent, and once again William Powell plays the villain of the piece and steals the show. The Gish sisters never looked more attractive, especially Dorothy. Ronald Colman was stalwart but overshadowed by Powell. On whole, it is entertaining and sumptuously mounted but be aware of above-mentioned lapses in the narrative.7/10 - The website no longer prints my star rating.

"He is the traitor of traitors -- the liar of liars --"A mysterious stranger appears in 15th Century Florence and overturns the apple cart. Tito (William Powell) presents an outward appeal that does not reveal his Machiavellian intentions, as he charms his way into Florentine society.In her second film with director Henry King, Lillian Gish was cast as the title character and moral compass of George Eliot's mid-Victorian novel, a tale of social, cultural and religious upheaval set in Renaissance Italy. Sister Dorothy once again played a mirror opposite, the dark-eyed, simple-minded street urchin Tessa, who virtually steals the show. Considered a "prestige" film by it's newly incorporated distributor MGM, Romola made extensive use of exceptionally beautiful locations in and around Florence, with flocks of birds and a host of eager, well costumed Italian extras, masterfully arranged and photographed by King. The oddly altered scenario, typical of Hollywood, is a staid but entertaining reinterpretation of Eliot's Bonfire of The Vanities.Notes on the noteworthy…Tessa's introduction is particularly lovely, as Tito wakes her with a kiss on the nose. They later share a beautiful scene on the banks of the Arno with the Ponte Vecchio in the background. While Eliot incorporated actual events into her novel, this fast and loose re-write may confuse history buffs. Without giving away too much, it seems screenwriter Will M. Ritchey has juggled the idea of several events, while significantly altered, to create a spectacular ending. King went to great lengths, making full use of the location, from expertly framed scenes with the Duomo prominently displayed as the background, to numerous side streets and country lanes. One shot of a large crowd passing through an arch with the dome behind them as a flock of birds fly past overhead is absolutely breathtaking!

During the early silent cinema history, historic or costume films were in fashion among audiences around the world; people liked very much to watch all those dressed up characters playing epic adventures and recreating historical events through times in old Europe.Herr Henry King directed "Romola" in the silent year of 1924 just after the excellent "The White Sister" which was filmed entirely in Italy as was "Romola", so the Amerikan director thought that for the cost of one film, why not to have two?... And of course staying in Italy provided more time for producers and cast to be tourists through the beautiful capital city of the region of Tuscany, Florence and surroundings.The story is set in Florence when the splendorous Italian city was ruled by the Medici, that is to say, it's a tale of ambition, political intrigues along with a love story and images of the beautiful city. Unfortunately, "Romola" is not a very inspired work; a very strange case this because with such elements and the Medici's spirit around, Herr King should have made a more interesting oeuvre. On the contrary, "Romola" is a wizened film, older in style than the Medicis themselves.The most interesting aspect of the film are the actresses and actors. The Gish sisters have the leads and, while they are not at their best certainly, it is always a pleasure to watch Dame Lillian and Dorothy playing their conventional heroines so common in these historical productions. As for the actors, well, to watch Herr William Powell and Herr Ronald Colman wearing those unbecoming hairdos together with stretched tights without losing their dignity is a very remarkable and important event in itself, ja wohl…And now, if you'll allow me, I must temporarily take my leave because this German Count must try to cram his plump Teutonic body into one of those fashionable tights.Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

I guess this isn't an awful film, but after recently viewing it, I was struck by how it really needed that Griffith touch. Especially since the script was something Griffith would have done. But they missed out on any chance for true suspense by neglecting everything they should have learned from Griffith about climactic cross-cutting.Wow...I feel like I'm turning into a film geek or something. (I guess I like Griffith more than I thought...or I've just seen too many of his films.)Anyway, if you want to see a movie worth watching with the Sisters Gish (and who doesn't??), watch (or re-watch) Orphans of the Storm. View this only as a comparison as to why Griffith was truly a master.