La dernière fois que j'ai vu Paris

The Last Time I Saw Paris was the second of two films that Elizabeth Taylor and Van Johnson co-starred. What a difference in four years from The Big Hangover where Johnson was billed ahead of Taylor.

Which is odd in this case because the film is really about Johnson. It's based on F. Scott Fitzgerald's story, Babylon Revisited which takes place in Paris after World War I. MGM apparently thinking that the audience would be more amenable to a story taking place after World War II, so the plot was updated for France of the Fourth Republic.

It doesn't quite work though, France of that era was a whole lot different than France of the Roaring Twenties. They partied then also when Paris was liberated and the Germans chased out of their country, but on the whole it was a time for more sober reflection of what France's role in the post war world would be. The Roaring Twenties that Fitzgerald wrote about were not the Roaring Forties.

Van Johnson is a GI who comes upon a family of expatriates who lived in Paris right through the occupation. Walter Pidgeon and his two daughters, Donna Reed and Elizabeth Taylor. They both are interested, but Johnson has eyes only for Liz. And the film is their story.

It's a tragic story, you can see Fitzgerald himself in Van Johnson, the would be writer who becomes a dissolute playboy. Partying right along with him is Taylor who is the image of Fitzgerald's party girl wife Zelda.

MGM did this one on the cheap. There are some shots of Paris, but on the whole the Paris you see is the Paris that was created by the studio for their classic musical An American in Paris. View the films side by side and you'll have no doubt.

Look for Eva Gabor as a divorcée who likes Johnson and a very young Roger Moore as a tennis pro who'd like to be a kept man by Taylor.

It's a nice story, but it could have been a whole lot better if MGM had actually shot the film in Paris completely and really set in the period it was written.

The Last Time I saw Paris

Reviewed by Dan Cooper

This film was made in 1954, and by virtue of its age it becomes an easy target for those who would use it as a vehicle to pump up their own egos with a verbal bashing that will likely go unchallenged. The film has indeed been bashed, here on this database among other places, as unimportant and unworthy of your time as a possible rental choice.

I disagree completely with the uncalled for bashing, and with the judgement that the movie is unworthy of your time. See it for yourself. And if you are young enough to be completely unfamiliar with all of the actors, so much the better for you to judge it fairly on its merits rather than be snowed by the reputations of Hollywood personalities.

The plot has depth and very few weaknesses, the acting is good to very good, and the story has interest value in both historical and social frames of reference.

The plot concerns the uniting of two people whose tragic flaws are not well matched, with the obligatory tragic results. The pair gets together spinning out of a near-miss love triangle. The man (Van Johnson) has no idea of the existence of the triangle, as he is completely taken with Taylor and just as completely forgets his earlier attraction to the other woman (Donna Reed). Reed, the rejected third wheel, is actually not rejected, per se, but becomes the "odd man out" none the less when her sister (Liz Taylor) successfully steers the affections of the duped Johnson in her own direction instead.

Reed adopts the persona of the rejected party to a relationship that never was, and exacts her revenge later in the film.

While the big name actors of the day are no longer influencing moviegoers today, they undoubtedly sold the film in 1954. I find some weaknesses in both acting and directing, but the film is definitely worth seeing if you have never had the pleasure. Van Johnson's role is that of a fairly shallow character with a good heart but no follow-through to carry him to victory until way too late to do much good. Johnson possibly could have done more with the role, but the weakness of the character should not be confused with some partially perceived weakness in Johnson's delivery of the part.

Taylor does a nice job as the sly and experienced older sister, the one with the better looks and the Machiavellian technique to get whatever she wants, again at the expense of little sister Reed. The film is actually carried more by the acting of the supporting cast than by the efforts of the leads. Two very strong performances are put forth by Walter Pidgeon and George Dolenz. Pidgeon plays the opportunistic pretender to wealth and father of the two women. Dolenz is the earnest lover of Reed, who inherits her full-time attentions only after Johnson is fully occupied with Taylor. Dolenz marries Reed and in the end does a very nice job of becoming the film's heroic figure.

Eva Gabor at the peak of her youthful beauty does a good job as yet another love triangle component for the easily side-tracked Johnson after his marriage to Taylor. Another triangle develops with a very young Roger Moore finding the eye of Taylor.

Do yourself a favor and see this movie.

Dan Cooper is a freelance writer/editor. He has been writing for over 30 years and has done book and movie reviews sporadically since the 1970's.

"The Last Time I Saw Paris" was a hit in 1954-55, mostly because of the rising super star, Elizabeth Taylor. Taylor was the lead female, Helen Ellswirth, but her role and part in the story were second to the male lead, Charles Wills, played by Van Johnson. The fact that the 22-year-old Taylor was billed ahead of Johnson shows her star status and MGM's promo to cash in on the movie.

While it was a success at the box office - bringing in just under $5 million on a budget just under $2 million, the film finished 36th for the year. Considering its star content that included Walter Pidgeon, Donna Reed, Eva Gabor, and the rising Roger Moore, "The Last Time I Saw Paris" might have finished much better. There were many good movies in 1954, the year that "White Christmas" topped them all at the box office, and got just one Academy Award nomination. It was also the year of "Rear Window," "The Caine Mutiny," "The Glenn Miller Story," "On the Waterfront," "Magnificent Obsession," and a host of musicals, comedy romances, dramas, Westerns and war films that all fared better than this film.

Other reviewers have noted the characteristic of this film that sets it back. It's heavy melodrama, fodder for the daytime TV soap operas that were airing at the time. It's slow and drawn out. And, the fact that the main cast are almost all dysfunctional characters, puts a moribund pall over the film. It even starts off that way. So, the gaiety and excitement of the main period in the life of Charles Wills (Van Johnson) and Helen Ellswirth (Elizabeth Taylor) don't come off as fun at all. More pall descends on the film.

Walter Pidgeon's James Ellswirth interjects some light comedy in his hedonistic, irresponsible character. A young Roger Moore has the role of a tennis bum gigolo, Paul. And the capable Donna Reed is seen mostly as a sour, snippy woman with a huge secret that she can't hide from her husband, Claude Matine (George Dolenz), or the audience.

Van Johnson's role is strange, and one can't imagine why Helen would fall for him. Except for a little smiling and openness early, his character becomes moribund through most of the film. There are no exceptional or even very good portrayals in the film - perhaps Taylor's is the best as just okay.

I think this film had possibility, but the writers would need to put some life and spunk into Johnson's Wills. His self-pity wears very thin very fast; then his alcoholism and the very strange marital relationship of the two weighs down this film.

I strain to give the film five stars, so that's a credit as much to the decent but minor portrayal by Pidgeon. As the totally irresponsible head of the Ellswirth family, his witty philosophy at times provides the only spark for this film.

Here are the best lines of this movie, set in Paris just after the end of World War II.

James Ellswirth, "Your sister has made me very proud. We couldn't tell you the good news before, but Helen has been expelled from the university."

James Ellsworth, "Oh, now look, let her alone. After all, I was expelled from Harvard once, and why shouldn't a girl follow in her father's footsteps?"

Helen Ellswirth, "We're not rich either. We just live that way. Daddy says it the same thing, only it's much cheaper."

Helen Ellswirth, "Daddy says, it isn't what you have, it's what you owe."

James Ellswirth, "Helen getting married. Marion getting married. Father abandoned in middle age." Exhales, "Hmph. What man could ask for more?"

Charles Wills, "Is it Sunday already? What happened to Friday and Saturday?"

Charles Wills: "What'd I do?" Helen Ellswirth, "That, I'd be very interested to know."

Charles Wills: "Well, where are you going?" Helen, "To do something important - buy a new hat."

Though downbeat and sometimes sad, this is a generally well-crafted human drama that explores several aspects of family life and relationships. Elizabeth Taylor is the standout in a good cast, with Van Johnson also getting some good scenes. The postwar Paris setting is used in a number of well-conceived ways in the story.

Johnson plays the main character, a reporter and would-be novelist who begins the movie with a trip back to Paris, and begins reminiscing about the past. The character's career disappointments and family crises give much of the story a markedly pessimistic (if not depressing) tone, yet Johnson plays the part believably, and the story brings out some worthwhile thoughts, as his character gradually loses his perspective on things.

As his wife, Taylor's appeal and energy stand out every time she is on screen, but more importantly, she develops the character consistently throughout the story, often in interesting contrast to Johnson's character. She starts out as a rather spoiled, fun-loving young woman, then gradually takes on more depth and character. Her performance adds considerable meaning to the rest of the movie, and it also help in making the other characters more believable.

Walter_Pidgeon (sorry, otherwise can't get it past the spell-checker) seems to be having fun as the easygoing father, and Donna Reed does a solid job in a rather thankless role as Taylor's more serious, sometimes envious sister. Eva Gabor and a young Roger Moore play characters who are one-dimensional yet important to the plot.

Overall, everything works pretty well. The pace is just a bit slow at times, which occasionally makes for heavy going during the sadder stretches. But these always have a point, and as a whole it is a worthwhile drama with some interesting characters.

A successful writer ( Van Johnson) remembers about his love story with a gorgeous American girl ( Elizabeth Taylor ) in post WWII Paris . As we watch bright scenarios from Paris as the Arc of Triumph , river Sena , Cathedral of Notre Dame , promenade of Eliseos ; furthermore a horsemen race and Montecarlo car race , among others . Based on a semi-autobiographic novel titled ¨ Babylon revisited ¨ by F. Scott Fitzgerald who is well incarnated by Van Johnson and in which Helen played by Elizabeth Taylor represents Zelda , Scott's wife .

This interesting movie reminisces the love affair between a wealthy war reporter and a feisty young woman ; it packs romance , drama , and colorful scenarios . Good support cast as Donna Reed , Eva Gabor , Kurt Kasznar , John Ducette and Walter Pidgeon who steals the show as joyful and sponger father . Glamorous cinematography in glimmer Technicolor by Joseph Ruttemberg and adequate musical score .

The motion picture is professionally written and directed by Richard Brooks . He's an American filmmaker and screenwriter who won an Oscar for ¨ Elmer Gantry ¨ writings ; Brooks so consistently blended the good with average which it became quite impossible to know what to expect from him next . In the 50s , the harder his movies impacted , the more successful they were ; and the gentler they were , the less effective as ¨The last time saw Paris ¨ . Thus , the Brooks pictures that have the biggest hit in the 50 are the following : ¨Blackboard jungle ¨, ¨Something of value ¨ ¨The Brothers Karamazov ¨ , and in the 60s are ¨ Sweet bird of youth¨, Cat on a hot tin roof ¨, ¨In cold blood ¨ and ¨ The professionals ¨ ; in addition during the 70s a special mention to ¨ Bite the bullet ¨. Rating : : Good film that appeal to Elizabeth Taylor fans .