Ernst Lubitsch cannot be over-praised. One of his classics is a silent version of "Lady Windermere's Fan," by that iconic wordsmith, Oscar Wilde.
Lubitsch knew how to use a camera to tell a story, and "So This Is Paris" illustrates -- if you'll pardon the expression -- that facet of his talent perfectly.
But he also had four of the most expressive actors available, especially Lilyan Tashman, who certainly should be better known now, even if nearly a hundred years later.
She was lovely, yes, but what a talented actress, so animated and full of facial and bodily gestures to get her point across.
She lit up the screen, but her character's husband, played by George Beranger, listed here as Andre Beranger, who had a long and busy career, including as director, was not totally in her shadow.
Beranger needed to stand up straighter and hold his shoulders back, but he was obviously in good shape, and even looked as if he lifted weights. It's nice to know he kept busy for so many years since he was talented as well as good looking.
Another good-looking actor was Monte Blue, who eventually accumulated nearly 300 credits, working nearly to the last years of his life, to the credit of Hollywood, which -- sad to say -- so often forgot its pioneers.
The fourth star, and star she was, is Patsy Ruth Miller. Probably her most famous film is "The Hunchback of Notre Dame," with Lon Chaney, but she went on to play in about four score movies, making a praised appearance in her last role as the title character in "Mother," 1978.
When "So This Is Paris" was presented on Turner Classic Movies, 9 May 2021, it was a surprise to me, being totally unfamiliar with it. Apparently it is a refurbished film with a new score, and I hope it plays often, so you can see it.
The script, by the way, steals quite a bit from Strauss's "Die Fledermaus," and I don't know how many others, including critics and reviewers of 1926 as well as audience members of today, realize the source.
Never mind, even if it is plagiarized, "So This Is Paris" is so beautifully performed and directed, we will overlook the theft and just enjoy.
Lubitsch knew how to use a camera to tell a story, and "So This Is Paris" illustrates -- if you'll pardon the expression -- that facet of his talent perfectly.
But he also had four of the most expressive actors available, especially Lilyan Tashman, who certainly should be better known now, even if nearly a hundred years later.
She was lovely, yes, but what a talented actress, so animated and full of facial and bodily gestures to get her point across.
She lit up the screen, but her character's husband, played by George Beranger, listed here as Andre Beranger, who had a long and busy career, including as director, was not totally in her shadow.
Beranger needed to stand up straighter and hold his shoulders back, but he was obviously in good shape, and even looked as if he lifted weights. It's nice to know he kept busy for so many years since he was talented as well as good looking.
Another good-looking actor was Monte Blue, who eventually accumulated nearly 300 credits, working nearly to the last years of his life, to the credit of Hollywood, which -- sad to say -- so often forgot its pioneers.
The fourth star, and star she was, is Patsy Ruth Miller. Probably her most famous film is "The Hunchback of Notre Dame," with Lon Chaney, but she went on to play in about four score movies, making a praised appearance in her last role as the title character in "Mother," 1978.
When "So This Is Paris" was presented on Turner Classic Movies, 9 May 2021, it was a surprise to me, being totally unfamiliar with it. Apparently it is a refurbished film with a new score, and I hope it plays often, so you can see it.
The script, by the way, steals quite a bit from Strauss's "Die Fledermaus," and I don't know how many others, including critics and reviewers of 1926 as well as audience members of today, realize the source.
Never mind, even if it is plagiarized, "So This Is Paris" is so beautifully performed and directed, we will overlook the theft and just enjoy.