So This Is Paris

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.

It must feel nice to be wanted in a highly-competitive professional field. German director Ernst Lubitsch, after arriving in America to handle Mary Pickford's 1923 "Rosita," was immediately offered a lucrative three-year, six picture deal with Warner Brothers. He took the offer, nearly fulfilling his contract with the studio for four pictures before making the sophisticated comedy July 1826, "So This Is Paris."

Much to the chagrin of the director, studio co-owner Jack Warner was always butting in on the set where Lubitsch held command. The veteran director, used to having independence in his production and little to no supervision from corporate higher-ups, resented such intrusions. He had one more picture to make to complete the Warner contract, but he wanted out. Before "So This Is Paris," the director begged to buy out his contract, to no avail. Jack and Ernst decided to cut the cord and not to extend his contract, much to the delight with Paramount and MGM, who were drooling over getting the innovative director.

Too bad Jack didn't wait a few more weeks when the box office returns came out. "So This Is Paris" did well in the theaters. One sequence in the film especially had viewers and critics buzzing. The story, based on the 1872 play 'Le Reviellon,' by Henri Melhac and Ludovic Halevy, involves two couples who link up with each other spouses without the others knowing about the hanky panky. When the husband and the other wife go to the Artists' Ball (his excuse is he has to serve a three-day jail sentence for speeding), Lubitsch produces what some sources claim is the first choreographed dance scene in a silent movie. The dance number is The Charleston, one of the most popular songs in the Roaring 20s. The New York Times reviewer was astounded by the five-minute sequence, writing the director's "tour de force is an extraordinarily brilliant conception of an eye full of a Charleston contest, with vibrant kaleidoscopic changes from feet and figures to the omnipotent saxophones. The comedy in this film had, up to that time, kept the audience in constant explosions of laughter, but the startling dissolving scenic effects and varied "shots" elicited a hearty round of applause."

The role of one of the wives, Suzanne, who falls for the half-naked husband across the courtyard after reading the lustful novel 'The Sheik' is played by Patsy Ruth Miller. Viewers of 1923's "The Hunchback of Notre Dame" will recognize her as Esmeralda. The other wife, Georgette, who was previously a long-time girlfriend of Suzanne's husband and is his dance partner of The Charleston number, was played by none other than Lilyan Tashman. In real life, the actress and her husband, Edmund Lowe, hosted lavish weekly parties at their Beverly Hills home. Their invites were one of the most sought after prizes for the many elite Hollywood-connected.

An observant eye will also spot one of movie's more popular future stars. Twenty-year old Myrna Loy, in her 10th film in bit parts, is in a brief scene as Georgette's maid.

Based on a play by Henri Meilhac and Ludovic Halevy, Ernst Lubitsch's So This is Paris is the first time his writing partnership with Hans Kraly bore good fruit. A light comedic farce, a genre that Lubitsch obviously liked to tell stories in, it's the sort of film that is a trifle and a confectionary creation, a film of wit that doesn't ask for too much from its audience, choosing to be pleasing and delightful over anything else. I feel that some parts of it would fall apart, especially morally, if you considered it too deeply, reminding me of Lubitsch's protégé and acolyte Billy Wilder's first film The Major and the Minor.

Doctor Paul Giraud (Monte Blue) is married to Suzanne (Patsy Ruth Miller). Across the street moves in a pair of actors, Maurice (Andre Beranger) and Georgette Lalle (Lilyan Tashman). They are practicing a routine dealing with Arabia where they dress in Arabian outfits just as Suzanne is finishing up a steamy romantic novel set in Arabia. She sees this man in foreign looking attire (without a shirt) across the way and gets all worked up at the sight. It's so bad that Paul goes to the apartment to tell them off for such indiscretion when he realizes that he knows Georgette. They were an item some time ago, long before either of them got married, and she tries to make a pass at him, which he shuts down. When Paul comes back home, he puts on a small show for Suzanne, talking about how he got into a tussle with Maurice, breaking the man's cane in the process, in a show of strength for his wife's honor and decency. This is undone when Maurice shows up at the door, complete with intact cane, and immediately hits on Suzanne while Paul is in the other room, resting after his "ordeal" where he hears everything in the other room.

So sets the stage that the couple of actors use their time to try and get romantically involved, individually, with their neighbors across the courtyard. The joys of the film are in the lies that the "good" couple tell each other to continue down these potentially indiscrete paths with other married people, like when Georgette calls the apartment hoping to get Paul. Instead, she gets Suzanne and tells her that Paul must come to a café where a man is very sick. Believing it is true, Paul drives as fast as he can, getting caught for speeding by a police officer who lets him go in order to save a dying man, only to catch up again to witness Paul and Georgette laughing outside the café. This leads to Paul getting sentenced to three days in jail.

The big finale of the film is centered around the Artists' Ball. Paul is determined to go with Georgette. Maurice is determined to visit Suzanne while Paul is out. There's a bit with mistaken identity that leads to the wrong man going to jail and Paul and Georgette winning the Charleston dance contest which gets announced on the radio that Suzanne is listening to. Is Paul trying to cheat on Suzanne with Georgette? It's not entirely clear, but it probably has more to do with him trying to get back at Suzanne for his perception that she was willingly falling in for Maurice's seductions.

The movie's lack of seriousness is really what sells the film overall. It's got this light and airy tone as it moves from one little domestic event to the next, and it's highlighted in the film's final intertitle that describes the moral of the story as not walking in front of your window with your shirt off. It's an amusing end to a trifle of a film, and it's the perfect little capper to tie everything together. "Don't take this too seriously," the movie is saying. And I happily took that advice.

Now, just a quick note on some technical stuff. This is Lubitsch really stretching himself in interesting ways. Firstly, there's the big Artists' Ball where Lubitsch uses montage and really complex multiple exposures to create a kind of euphoric representation of the out of control party. It's the kind of stuff that Murnau put into Sunrise and Hitchcock did in Champagne, and Lubitsch predates them both by a couple of years. There's also a moment where a husband is put in his place by his wife late in the film, and Lubitsch uses a surprisingly sophisticated compositing trick to diminish the husband in the frame like The Incredible Shrinking Man, and he walks through a doorway quite convincingly. I really did not expect to ever see Lubitsch using special effects and visuals this sophisticated, and he handles them quite well.

Lubitsch's early period in Germany largely disappointed me, but since coming to American I'm seeing why people like Wilder and even Irving Thalberg were so taken with his work. There's a light, effortless feel to Lubitsch's final products that so easily entertain that he makes it feel simple. Filmmaking is never simple, and that light touch is really why his films are becoming more and more enchanting, even when we're dealing with lesser works of a man obviously made for greater things.

... 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.

Nice little comedy from Ernst Lubitsch about two Paris couples who get involved in a bizarre mixup of identities and lies.

Monte Blue (hugely underrated silent star) is dull Dr. Giraud, whose antsy wife (Patsy Ruth Miller) pines for a sheik. One day she spies across the way a sheik in a window. She fantasizes about the sheik (Andre Beranger) who is really just the mousy husband of Lilyan Tashman in a dance act. When the doctor goes across the street to confront the sheik all manner of mistaken ideas take place, culminating in a fabulous montage of a Parisienne jazz club.

Blue and Tashman are quite fabulous here and really get into the spirit of the farce. Miller is stuck with the "wife" part but looks great. Beranger is also quite good as the mousy sheik.

Myrna Loy plays the maid!