Charlie Chaplin’s 1923 film A Woman of Paris is a film full of
firsts. It was his first films released by United Artists, the company he had
co-founded four years earlier. It was his first dramatic film, featuring no
slapstick comedy at all and it was his first film in which he did not star. It
was also a film of lasts. After a fruitful eight year relationship, this was
Chaplin’s final film to feature Edna Purviance and it was also his last purely
dramatic picture. The movie was warmly received by critics who praised its bold
themes, underplayed acting and assured direction but for the public it was a
different matter. It’s difficult to quantify Chaplin’s appeal and fame for
modern audiences but up to that point no person in the movies was paid more. Upon
his first return to London
after his American success, literally hundreds of thousands of people turned
out to welcome him home. It is arguable that no entertainer has ever been as
famous as Charlie Chaplin was in the first half of the twentieth century.
So, when audiences eagerly
flocked to their cinemas in 1923 for the latest Chaplin feature only to find
that the man himself wasn’t on screen, it’s easy to understand their
disappointment. Imagine paying for another Pirates
of the Caribbean film only to discover that there was no Johnny Depp and no
pirates. Now image that the Pirate of the
Caribbean films were actually good and you get some understanding of the
disappointment audiences must have felt. To his credit, Chaplin did attempt to
get word out that this was going to be an atypical film with flyers handed out
to the long cinema queues and the film actually opens with a disclaimer stating
that “I do not appear in this picture” and that it is intended as a “serious
drama”. Had the audience been aware of this before the film opened, their
reaction might have been very different but instead it was a commercial failure
and wasn’t seen again for over fifty years when Chaplin reissued it with a new,
self composed score in what was to be the final piece of work before his death
in 1977.
The movie is based partly on the
stories of a woman with whom Chaplin was friendly. Peggy Hopkins Joyce was a
serial seductress who was married six times and had relationships with several
other high profile men including Chaplin himself. Peggy was known for snaring
rich men before divorcing them and claiming part of their wealth and her
stories from her time in Paris
particularly fascinated Chaplin. Edna Purviance was given a starring role by
her long time collaborator in an effort to help launch her into more dramatic
roles. She plays a relatively poor French girl, growing up in a small, rural
village. Her father objects to a relationship with a burgeoning painter played
by Carl Miller and the two plan to run away to Paris to wed but on their night of departure,
her lover’s father dies and without knowledge of this, Marie St. Clair
(Purviance) leaves for the bright lights alone. In Paris she becomes a courtesan, living in
luxury in an apartment paid for by her rich lover Pierre (Adolphe Menjou).
As regular readers will be aware,
Charlie Chaplin is pretty much my favourite film maker and I love his films as
much for their technical proficiency, direction and performances as for their
comedy. Unlike the contemporary audiences I’m able to appreciate this film for
its dramatic tendencies rather than rue the loss of the star in front of the
camera. The story is very strong and features depth of character rare for the
period. Their lusts and desires are worn on their sleeves despite their
emotions being hidden beneath a façade. Chaplin once said that real people tend
to hide their true emotions and that is something which he distilled in his
actors. Unlike some (not all) of the movies from the time, Chaplin’s actors underplay
the drama and while melodramatic in its construction, the actors remain within
the realms of realism. Indeed scenes set in Edna’s apartment featuring her and
her friends feel as though they could be taken from documentary footage.
The plot is fairly simple and a
little on the formulaic side but it travels in some nice directions before
reaching a sensitive conclusion. The film portrays the conservatism of the
older generation and plays it off against the gayety of the early 1920s in
spectacular fashion. It is the older characters who are the villains and who
cause the early upset. This plays against convention for a Hollywood which did and still does revere the
older generations. The love story at the centre is sweet and well handled which
should be no surprise considering the writer’s previous work was The Kid, a film which features one of
the all time great non-romantic love stories. He would also go on to make City Lights nearly a decade later and
that film still ranks as one of the best romantic comedies of all time. This
film however fails to match either of those. As well as treading firmly on
traditional romantic territory and subverting stereotypes, from a historical
point of view Chaplin’s politics shine through. The hero of the piece is the hardworking,
artistic underdog (sound familiar?) while those with power tend to be more
morally shady. The ending in which the lead gives up the high life and the
glamour that comes with it in favour on helping others is also torn right out
of Chaplin’s political manifesto.
In terms of direction the film is
very strong. Early scenes highlight snippets of expressionism with the use of
heavy shadows and wonky sets and there is also a clever use of props and
lighting to create the illusion of a train when in fact none is there. It is
during this scene that Chaplin has his blink and you’ll miss it, unbilled cameo
as a porter. The cameo was missed by many of the theatre goers in 1923 as
Chaplin was on screen for just a second or two and was heavily disguised under
unfamiliar makeup and a hunch. Edna Purviance never went on to have the career
that Chaplin so wanted for her. Here though she is above average. She doesn’t
command the screen as many actors do but isn’t an embarrassment. It must have
been difficult to step forward from the bowler hat shaped shadow in which she’d
found herself for nearly a decade but overall she makes the most of her
opportunity. Carl Miller is very good and has some wonderfully drab expressions
but the stand out for me is Adolphe Menjou. A future McCarthyist, his career
was given a bump by the movie and he is excellent in it.
Overall then I lie somewhere
between the 1923 audience and critics. For what is it, A Woman of Paris
is a well crafted dramatic film but I got a little bored around the middle. The
performances are on the whole very good and I liked the toned down acting
style. The story flows with good pace and has a well written beginning and end
but Chaplin made many better films both before and after this one.
7/10
Titbits
- The only other Chaplin directed film in which he wasn't in a starring role was his final movie, A Countess of Hong Kong.
- Michael Powell credited this movie with inspiring many of the themes of his own.
- The re-issue wasn't completed in time for Chaplin to see and he died before it's completion. It was hailed as a masterpiece in 1977, just as it had been 54 years earlier.
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