Amor Parisiense

In spite that Dame Clara Bow has "It", she haven't an astounding career with a lot of masterpieces or even remarkable films ( for this German Count only two or three films of her deserves such Teutonic silent glory ). Her film career consisted of, on the contrary, a lot of inoffensive, trifle and insignificant films starring the Amerikan actress…until fame knocked at her silent and Paramount door.

"Parisian Love" it is a perfect example of what this German aristocrat is talking about, that is to say, an unimportant film directed by Herr Louis J. Gasnier ( an anodyne film director who goes well with the spirit of those Dame Bow films ). It seems that nobody pays attention to our star in spite of the fact that she does exert herself with excessive intention, overacting many times. She suffers many vexations such as dancing the Apache gang dance at night in Paris (a hybrid between tango, flamenco and personal attack ), changing her criminal life for an honest one as a servant or a convent bred fraulein, being ignored by her former fiancée, Armand ( Herr Donald Keith ) and his mentor Marcel ( Herr Lou Tellegen ) in which there's a kind of subtle and silent homosexual relationship. It's probably due to the fact that the chemistry between Dame Bow und Herr Keith it is defunct. The only standout in this simplistic Dame Bow film is the Paris underground art designer.

And now, if you'll allow me, I must temporarily take my leave because this German Count must to bow and scrape his fat German heiresses.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

Parisian Love (1925)

** (out of 4)

A lot of times "B" movies are put down for not having enough plot and not running long enough to matter. That saying is really put to the test here as this film runs a mere 62-minutes but there are enough plots here for ten movies. The film starts out as Apache lovers Marie (Clara Bow) and Armand (Donald Keith) break into the house of the rich Pierre Marcel (Lou Tellegen). Marie takes off when the police arrive but Armand becomes "friends" with Pierre who eventually saves him from blood poisoning. Still awake? Pierre then hooks Armand up with another woman, which Marie finds out about as she's gone undercover in the house as a maid. This upsets Marie so she plans on marrying Pierre to get even with him while other goons try robbing him for more money. There are several other subplots going on in this thing, which happens to be just one of fifteen movies Bow would make in 1925. The amazing thing here is how much stuff they try throwing at the viewer and for the life of me I really can't figure out what it was for. There's really no romance here even though, I guess, in the end that's what the story is suppose to be about. None of the goons are ever threatening and there's no tension from anything that happens with them. There's very little comedy and there's really no strong character development. There's pretty much nothing going on here but the thing is just so weird, so over-the-top that you can't help but keep watching just to see what's going to happen next. I would call this a really bizarre film but it's worth noting that director Gasnier would later make REEFER MADNESS so I guess this film could have gone even further (although there is a cocaine snorting scene here). I think the main reason people will be drawn to this film is just to see Bow. This isn't the greatest performance out there but she does a fair job with the role. Some of her acting towards the end of the picture is too far out there but she's nice to look at. Keith is a tad bit too bland in his role and Tellegen is so far gone that you can't help think he'd perfectly fit into REEFER MADNESS.

Though of course broken up by intertitles, it's worth observing right away that the storytelling is more fluid than it was in no few other silent films. The acting, direction, and pacing come across as mostly very natural, a step away from the stilted and less authentic sensibilities derived from stage drama and vaudeville and toward the style modern viewers are familiar with. Still the picture maintains a steady clip, advancing the plot swiftly, but never at such a pace as to feel rushed or forced. What follows is a tale blending two discrete elements of crime and romance into a form that seems to have fallen out of fashion in cinema of the latter half of the twentieth century, with dashes of both comedy and drama peppering the proceedings for variety of flavor. 'Parisian love' may not be utterly essential among such older movies, but it's solid, and remains quite worthwhile on its own merits.

As one would well expect of the silent era, when visuals were extra important, the presentation here looks fantastic. The production design and art direction are outstanding, flush with detail, as is the costume design. The hair and makeup work is terrific, and very noticeably and gratifyingly more rich and varied than has been true elsewhere in early cinema; characters are readily distinguishable just by their appearance (a credit as well to preservationists, for there's scarcely any sign of degradation or loss of fidelity in the digitized print). And the cast is most excellent, demonstrating range and personality, but also welcome nuance exceeding what was common among most of its contemporaries. Naturally silent superstar Clara Bow stands out the most in the lead role, showing why she was so beloved and sought after, but her co-stars are just as well with what they bring to the feature, breathing vivid life into their characters.

Save perhaps for the gracefulness of its fundamental craft, there's not necessarily anything about 'Parisian love' that stands out so much as to make this a must-see. It's well made and acted, but maybe doesn't have any major spark of vitality to it. Yet the story is engaging and enjoyable, despite occasionally coming off as uneven, and the scene writing actively entertaining to keep us keenly interested. Louis J. Gasnier's direction is sturdy and capable, as is the work of everyone behind the scenes. This is the sort of classic that doesn't abjectly demand viewership, but is still deserving and appreciable for what it does represent. It's those who are already enamored of silent pictures that will get the most out of this - but, perhaps, it's sufficiently well done to possibly serve as a point of entry for those who are curious about older movies, or trying to get their feet wet. Not specifically flawed, not specifically stupendous, 'Parisian love' is still worth checking out if you have the inclination and opportunity.

The first thing I noticed about Clara Bow is her huge eyes which she uses to great effect when words won't do. As portrayed by her, Marie is not a nice girl at all, she's scheming, she's common (interesting question - if she's a street girl, an 'Apache', where did she learn to dance?), she's not good enough for little Armand (the boy thief who is even prettier than her) or for Marcel (who is far more interested in Armand anyway, or at least that seems to be the way Lou Tellegen is playing the role - perhaps unintentionally, but ...). Clocking in at just over an hour, this is a small film which feels rushed towards the end after a very long-winded beginning. However, it manages to combine humour, a slightly ridiculous script, and peripheral characters who are there for a few seconds then disappear. I liked the boozy 'Madame' who is stealing all the drinks at the party (who has previously broken bottles over her slow-moving husband's head). Donald Keith as Armand has too little to do except look cute. Worth watching for Bow and Tellegen and for the gorgeous tinting on the restored print.

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