... but other than the names of the characters, I see nothing about this film that would indicate anything particularly Parisian about it.
A doctor's wife, Suzanne Giraud (Patsy Ruth Miller) , laps up romance novels about sheiks. Across the way, the apartment of the Lalles, who are professional dancers who dress in Middle Eastern attire, is visible via the window. Through a misunderstanding, Suzanne thinks the man living there has exposed himself to her, and demands her husband (Monte Blue as Dr. Girard) go over there and "get satisfaction" by caning him. It turns out the man's wife is an old flame of Dr. Giraud, Georgette (Lilyan Tashman), and the two begin an emotional affair. Meanwhile, Mr. Lalle, who never even encounters Dr. Giraud, goes to the Giraud apartment to return the doctor's cane, and becomes enamored of Suzanne. She does not return the sentiment only because Mr. Lalle is not her idea of a romantic sheik.
Suzanne is the only one not cheating or attempting to cheat on anybody, but she does have the knowledge - eventually - of the behavior of everybody else. And if Mr. Lalle had been more Valentino and less librarian, she probably would have been having a rendezvous too.
This is just a very light enjoyable film that is a great showcase for the fashions and dance styles of the time. The best scene in the movie is the Artists' Ball with a rowdy band and a rowdier Charleston. It was highlighted in the documentary series "Silent Hollywood" as an example of silent film not having any problems with musical numbers. Warner Brothers recently restored it, and it looks terrific, but I think the music that was used, particularly at the Artists' Ball, was not nearly as good as what was used in Silent Hollywood.
I'd recommend it as a good example of that Lubitsch touch in the silent era. It also showcases Lilyan Tashman as being as good in silents as she was in sound films, her natural mischief coming through.
A doctor's wife, Suzanne Giraud (Patsy Ruth Miller) , laps up romance novels about sheiks. Across the way, the apartment of the Lalles, who are professional dancers who dress in Middle Eastern attire, is visible via the window. Through a misunderstanding, Suzanne thinks the man living there has exposed himself to her, and demands her husband (Monte Blue as Dr. Girard) go over there and "get satisfaction" by caning him. It turns out the man's wife is an old flame of Dr. Giraud, Georgette (Lilyan Tashman), and the two begin an emotional affair. Meanwhile, Mr. Lalle, who never even encounters Dr. Giraud, goes to the Giraud apartment to return the doctor's cane, and becomes enamored of Suzanne. She does not return the sentiment only because Mr. Lalle is not her idea of a romantic sheik.
Suzanne is the only one not cheating or attempting to cheat on anybody, but she does have the knowledge - eventually - of the behavior of everybody else. And if Mr. Lalle had been more Valentino and less librarian, she probably would have been having a rendezvous too.
This is just a very light enjoyable film that is a great showcase for the fashions and dance styles of the time. The best scene in the movie is the Artists' Ball with a rowdy band and a rowdier Charleston. It was highlighted in the documentary series "Silent Hollywood" as an example of silent film not having any problems with musical numbers. Warner Brothers recently restored it, and it looks terrific, but I think the music that was used, particularly at the Artists' Ball, was not nearly as good as what was used in Silent Hollywood.
I'd recommend it as a good example of that Lubitsch touch in the silent era. It also showcases Lilyan Tashman as being as good in silents as she was in sound films, her natural mischief coming through.