lugonian
A WOMAN OF PARIS (United Artists, 1923), subtitled "A Drama of Fate," happens to be written and directed by Charlie Chaplin. Chaplin, famed for his Little Tramp character in both silent shorts and features, assumes a difficult task of directing a serious drama and not starring in it. It's not the sort of movie anyone would expect from this comical genius. To assure his movie going public of what they are about to see, Chaplin presents this statement flashed in screen during the title credits: "In order to avoid any misunderstanding, I wish to announce that I do not appear in this picture. It is the first serious drama written and directed by myself." Signed Charlie Chaplin. Rather than appearing in it, Chaplin chose his most frequent co-star since 1915, Edna Purviance, as its title character. Other than Henry Bergman, another member of the Chaplin stock company, no character types from Chaplin's past comedies appear in this production.The opening prologue begins in "a small village - somewhere in France." Marie St. Clair (Edna Purviance), upstairs in her bedroom, is about to meet Jean Millet (Carl Miller), the man she loves, to discuss their marriage plans. Her father (Clarence Geldert - billed as her stepfather though the girl is addressed as her daughter in this photo-play) takes the key and locks her in. With the window being her only means of getting out, Marie climbs out and is escorted down by Jean, who happens to be awaiting her outside. Observed by her father, he enters her bedroom closing the window, going downstairs to bold the doors. Upon their return, Marie finds herself locked out with her father refusing to let her back in. Jean takes Marie to his home where she, too, is most unwelcome by Jean's father (Charles K. French). In spite of his understanding mother's (Lydia Knott) pleas, Jean takes Marie to the train station where she is to buy tickets to Paris. In the meantime, Jean returns home to pack his belongings, only to find his father dead seated on the sofa by the fireplace. Marie telephones Jean to find out what's delaying him. She is told they must postpone everything for now. Feeling neglected, Marie heads for Paris alone. A year passes. Marie, now a woman of Paris, is also mistress to Pierre Revel (Adolphe Menjou), the richest man bachelor in Paris described as a "gentleman of leisure whose whims have made and ruined many a woman's career." Marie is also best friends with the vivacious Fifi (Betty Morrissey) and Paulette (Malvinna Polo). Later, while heading for a party given by Fifi, Marie loses her way. She knocks on the door to ask for directions only to find the tenant to be Jean, now an accomplished artist living with his widowed mother. In spite of her engagement to marry Pierre, Marie wants nothing more than to be with Jean again, but Mother Millet will stop at nothing to keep her son from becoming involved with this now notorious woman of Paris again.Though reportedly a commercial flop upon its release, this stylish silent melodrama might have proved successful had it been directed by Ernst Lubitsch or Josef Von Sternberg and featuring such popular names as Gloria Swanson or Norma Talmadge in the leads. Unseen for many decades, A WOMAN OF PARIS, as composed and scored by Charlie Chaplin himself, began to surface again around the 1970s, first in revival movie houses (such as New York City's Regency Theater in the 1980s) before distribution to home video in 1989 (accompanied by Chaplin 1919 comedy short, SUNNYSIDE), and years later on DVD. Other than Chaplin's unrecognizable cameo as a train station porter (lasting only a few seconds), A WOMAN OF PARIS very much belongs to Edna Purviance. Though she never developed herself into a popular dramatic actress, but known only as Chaplin's frequent co-star, Purviance simply drifted to obscurity following this film's release. Her co-star, Carl Miller, is also forgotten, even among film historians. Yet, the only performer to have benefited from appearing in A WOMAN OF PARIS was said to be Adolphe Menjou, best known mostly for his accomplishments in sound movies during the 1930s, 40s and beyond. And lets not overlook Lydia Knott as Miller's mother, who gives a worthy performance as well. Regardless of its past reputation, A WOMAN OF PARIS, at 83 minutes, has gained the recognition it deserves. Even without Chaplin in the cast, it's often part of the Chaplin filmography, even with Chaplin tributes on cable television, most notably on Turner Classic Movies (TCM premiere: March 18, 2004). Not exactly Chaplin's greatest in regards to serious acting but his finest achievement, thus far, as an accomplished movie director. (***)
Kirpianuscus
one of films who impress. for the performances. for the modern perspective about social realities. and, in same measure, for the art of director to propose a seductive - bitter story about desire, illusion and happiness. it is a splendid demonstration of high cinema. this fact defines it and, more than a virtue, represents the basic motif for rediscover a pure gem.
Andrei Pavlov
Previously my picture of Mr Charlie Chaplin in my mind's eye had been the following: a tiny clownish fellow who kicks other actors in the ass and gets thrashed and kicked in reply. In the course of time my perception changed. His music was playing as the background for the movies he participated in. Surprise. It was not Mozart but the clown himself. Now there is this film and it's definitely cinematic art. So many present-day directors cannot reach even 1/100th of the effect that is achieved by this black-and-white film that is even mute. It has no fountains of blood, no slo-mo, no bullets hitting foreheads, no explosions, no sex scenes, no *beep* words, no crude toilet humour, no trash-talk, no flat melodramatic elements, no crocodile tears, no stupid laughs. What more should a viewer want? The bitter irony and drama are scattered here and there. Its quality can be compared to the quality of the famous "Jeeves and Wooster" before it hit the appalling cast changes (hope, you know what is meant here).Here goes mine 10.Thank you for attention.
