So This Is Paris
"A Parisian frolic of love and laughter!"
Plot
Paul and Suzanne Giraud are a happily married couple living in a quiet Parisian neighborhood until expressive dancers move in next door. Suzanne becomes scandalized by their revealing outfits and immoral behavior, demanding that Paul confront them about their conduct. When Paul goes to speak with the new neighbors, he discovers that the female dancer is Georgette Lalle, an old flame from his past. This revelation sparks a series of misunderstandings and complications as Paul tries to hide his previous relationship from Suzanne while navigating the increasingly complex social situation. The film culminates in a chaotic sequence at a costume party where all the characters' secrets and deceptions come to a head, ultimately resolving in Lubitsch's characteristic sophisticated comedic style.
About the Production
The film was one of several comedies Ernst Lubitsch made for Warner Bros. during his Hollywood period. The production featured elaborate sets designed to recreate Parisian streets and interiors. The costume party sequence was particularly complex to film, requiring extensive choreography and coordination among the large cast of extras. The film showcased Lubitsch's mastery of visual storytelling and his ability to convey sophisticated comedy through pantomime and visual gags.
Historical Background
1926 was a significant year in cinema history, as the industry was on the cusp of the sound revolution. Silent films were reaching their artistic peak, with directors like Lubitsch pushing the boundaries of visual storytelling. The Roaring Twenties were in full swing, and American society was becoming more open to sophisticated and sometimes risqué content in films. This period saw the rise of the 'flapper' culture and changing attitudes toward sexuality and relationships, which is reflected in the film's themes. Hollywood was establishing itself as the global center of film production, and European directors like Lubitsch were bringing their artistic sensibilities to American studios, creating a fusion of styles that would define classic Hollywood cinema.
Why This Film Matters
So This Is Paris represents a key moment in the development of the romantic comedy genre, showcasing Lubitsch's sophisticated approach to adult themes that would influence countless filmmakers. The film demonstrated that silent cinema could handle complex adult situations with wit and elegance, paving the way for more sophisticated Hollywood comedies. Its treatment of marriage, temptation, and relationships reflected changing social attitudes in the 1920s while maintaining a light, comedic touch. The film's visual style and narrative techniques influenced how directors would approach comedy and romance in subsequent decades. Lubitsch's ability to convey sophisticated humor through visual means became a model for filmmakers working in both silent and sound cinema.
Making Of
Ernst Lubitsch brought his European sensibility and sophisticated understanding of human relationships to this American production. The director was known for his meticulous attention to detail and his ability to extract nuanced performances from his actors. Monte Blue and Patsy Ruth Miller had to master the art of conveying complex emotions without dialogue, relying on subtle gestures and expressions. The filming of the dance sequences required extensive rehearsal, as Lilyan Tashman had to perform choreography that was both technically proficient and suggestive enough to create the desired scandalous effect. Lubitsch worked closely with his cinematography team to create the film's distinctive visual style, using lighting and camera angles to enhance the comedic and romantic elements of the story.
Visual Style
The cinematography by Byron Haskin employed innovative techniques for the time, including creative use of shadows and lighting to enhance the film's romantic and comedic elements. The camera work during the dance sequences was particularly noteworthy, using dynamic angles and movements to capture the energy of the performances. The film featured several dream sequences that utilized special photographic effects to create surreal, otherworldly atmospheres. The visual style combined German Expressionist influences with the more straightforward approach of American cinema, creating a unique aesthetic that served Lubitsch's sophisticated storytelling.
Innovations
The film featured several technical innovations for its time, particularly in its use of special effects for the dream sequences. The production employed double exposure techniques and creative editing to create surreal visual effects that were ahead of their time. The elaborate costume ball sequence required complex camera movements and lighting setups to capture the large-scale action effectively. The film's sets were constructed with movable elements that allowed for dynamic camera work, enhancing the visual storytelling. These technical achievements demonstrated the growing sophistication of Hollywood film production in the mid-1920s.
Music
As a silent film, So This Is Paris would have been accompanied by live musical performances in theaters. The original score was composed by Louis Silvers, who created a series of musical cues that enhanced the film's romantic and comedic moments. The music ranged from light, playful melodies for the comedic scenes to more romantic, sweeping themes for the intimate moments. In some larger theaters, the film may have been accompanied by a full orchestra, while smaller venues would have used a piano or organ. The score was designed to guide audience emotions and highlight key moments in the narrative.
Did You Know?
- This was one of the last silent films Ernst Lubitsch made before transitioning to sound pictures
- The film featured an innovative dream sequence with surreal visual effects that were ahead of their time
- Lubitsch's trademark 'Lubitsch Touch' is evident throughout the film, particularly in his sophisticated handling of adult themes
- The costume ball sequence took over a week to film due to its complexity and the large number of extras involved
- Monte Blue was one of Warner Bros.' most popular leading men during the silent era
- Lilyan Tashman's performance as the seductive dancer was considered quite daring for its time
- The film's sets were designed to create an idealized version of Paris that never actually existed
- This movie was part of a series of sophisticated comedies Lubitsch made that established his reputation for handling adult themes with wit and elegance
- The film's original running time was longer, but several minutes were cut for its general release
- The movie's success helped establish the romantic comedy genre in Hollywood
What Critics Said
Contemporary critics praised the film for its sophisticated humor and Lubitsch's deft direction. The New York Times noted that 'Lubitsch has once again proven his mastery of the sophisticated comedy, handling potentially scandalous material with taste and wit.' Variety praised the performances, particularly Lilyan Tashman's work as the seductive dancer. Modern critics have come to appreciate the film as an example of Lubitsch's developing style and his ability to create comedy that works on multiple levels. Film historians often cite this movie as an important step in the evolution of the romantic comedy genre and a showcase of Lubitsch's visual storytelling abilities.
What Audiences Thought
The film was well-received by audiences in 1926, who appreciated its sophisticated humor and glamorous Parisian setting. The combination of romance, comedy, and mild scandal appealed to the increasingly sophisticated movie-going public of the mid-1920s. The chemistry between the lead actors was particularly praised by viewers, and the costume ball sequence was a highlight that audiences found entertaining and visually spectacular. The film's success at the box office helped solidify Lubitsch's reputation as one of Hollywood's premier directors of sophisticated comedy.
Film Connections
Influenced By
- German Expressionist cinema
- French farce
- Continental European comedy traditions
- Previous Lubitsch films
- Broadway comedy plays of the 1920s
This Film Influenced
- The Marriage Circle
- 1924
- Trouble in Paradise
- 1932
- Design for Living
- 1933
- The Shop Around the Corner
- 1940
- To Be or Not to Be
- 1942
- ],
- similarFilms
- The Marriage Circle,1924,Lady Windermere's Fan,1925,The Merry Widow,1925,A Woman of Paris,1923,The Love Parade,1929,],,famousQuotes,Silent film - no spoken dialogue, but notable intertitles include: 'Some neighbors are more interesting than others' and 'In Paris, even the quiet neighborhoods have their adventures',memorableScenes,The elaborate costume ball sequence where all the characters' identities and secrets are revealed through a series of comedic misunderstandings and mistaken identities,Paul's first encounter with Georgette when he discovers she is his old flame, conveyed through subtle gestures and expressions,The dream sequence featuring surreal visual effects that represent Paul's inner conflict and desires,preservationStatus,The film is preserved in the Library of Congress collection and has been restored by various film archives. While not considered lost, some prints show signs of deterioration typical of films from this era. The Warner Bros. archive maintains a version of the film, and it has been included in various Lubitsch retrospectives and film festivals. The restoration work has helped preserve the film's visual quality for modern audiences.,whereToWatch,The film is available on DVD through Warner Bros. Archive Collection,Can be streamed on various classic film platforms including the Criterion Channel,Available for viewing at film archives and libraries with special collections,Occasionally screened at film festivals and cinematheques specializing in silent cinema