Maidgethma Wonderfully offbeat film!

SpuffyWeb Sadly Over-hyped

Matialth Good concept, poorly executed.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

wes-connors Thieving Parisian lovers Clara Bow (as Marie) and Donald Keith (as Armand) are separated when police interrupt their attempt to rob wealthy professor Lou Tellegen (as Pierre Marcel). Posing as a street doxie, Ms. Bow manages to escape, but Mr. Keith is wounded. Luckily for the handsome Keith, Mr. Tellegen turns out to have a yen for both men and women. Tellegen recognizes Keith as a former student, puts him to bed, and caresses him back to health.Bow wants her boyfriend back; she suspects Tellegen has ensconced him on his estate, and manages to get her self a job there, as a temporary maid. Bow discovers Tellegen's plan to mate Keith with pretty Alyce Mills (as Jeanne), and jealously leaves. Keith tries to find Bow, but fails. After regrouping, Bow begins her final plan; to win the whispered-to-be "aloof from love" Tellegen's boy and money, she will pose as a convent girl and seduce him into marriage! "Parisian Love" is a quite unlikely, but highly amusing comedy. Bow and Keith are a great match, with the former lively in a number of guises. Bow impresses as a commanding star comedienne. Fading idol Tellegen is a real surprise, plucking his gray hairs in a memorable scene, and mixing well with the young lovers. Also keep an eye on veteran hag Lillian Leighton; she is hilarious, hogging the liquor as Bow's "snuff-smelling, absinthe-gargling" companion.******* Parisian Love (8/1/25) Louis Gasnier ~ Clara Bow, Donald Keith, Lou Tellegen, Lillian Leighton

nycritic With a plot line that is as convoluted as a ball of yarn, PARISIAN LOVE barely manages to escape ignominy due to the presence of Clara Bow, who with her huge eyes, expressive face, and earthy beauty just dying to burst out of its confines manages to transcend well beyond the material she was handed (which tended to be unremarkable, as she wasn't considered glamorous enough to garner or carry that sort of film). Even so, PARISIAN LOVE is an odd movie, one that starts out as a dance-duel between partners, evolves into an adventure, and then turns into a revenge drama where Bow's character decides to go after Armand (Donald Keith) after believing he has betrayed her love for him in a rather implausible way. All in all, it's an okay movie, for completists of Bow's cinematography only, but for anyone looking for true acting and in a timeless style, the preferred movie to view would be IT.

tedg Spoilers herein.Usually when I comment on a film, it is in the context of ideas. I root myself in the notion that ideas can have power, including emotional effect. Further, I suppose that many of these ideas come from thinking filmmakers.That sets me apart from others that look for dramatic engagement and credit actors with great influence.But my reaction to this film is different than both. In this case, I am reminded that some things in life take on their own identity and do what is necessary to promulgate. Things like musical tunes can be thought of as living, selfish entities that adapt so that they stick in your mind and induce you to hum or play them so that they can similarly stick in someone else's mind.Ideas like equality and justice and god are in this class which is generally called `memes.'Powerful films are full of memes, many of which aren't known at the time. Some of these we notice after the fact. Here, we have a few phases in the language of eyes. This was a new language in 1920, just when movies were inheriting the soul of our culture, that place where we collectively develop our imaginations. And Clara Bow was the first great artist of sculpting emotions with her eyes.And once those eye-phrases are captured, they do what they need to to survive and promulgate. Their expression in this film is secure, as it is now on DVD and thoroughly distributed throughout the planet. Not even a dinosaur-sized asteroid could kill that now. But the more effective promulgation is that now some of Clara's phrases have entered the music of everyday sexual dialog.See this as one of the better vehicles for various opportunities she has to play her eyes, probably better than most of the others easily available. Otherwise the film is a waste, except for recalling a time when it made movie sense to portray a man of culture as a French scientist. That's a meme that is dead.Ted's Evaluation -- 2 of 3: Has some interesting elements.

David Atfield Am I just deluded or is this the tale of a woman driven to extremes of jealousy, when her boyfriend becomes the lover of another man? The story goes like this: A handsome young robber is caught while robbing a wealthy man. Instead of handing him over to the police, the man claims that the robber is an old friend, and then nurses his wounds in his own bed. He insists that the young man live with him or he will turn him in. Meanwhile the robber's girlfriend finds out what's going on and, while the robber is away on a business trip for his "friend", she decides to seduce the wealthy man and trap him into marrying her. This she describes as revenge for him stealing her lover from her. A title reads: "All of Paris whispered when Pierre Marcel was married - he had been so aloof from love". Mmm. Well if anyone could "convert" a gay man it would have to be the wondrous CLARA BOW.