Claysaba
Excellent, Without a doubt!!
Ceticultsot
Beautiful, moving film.
Aiden Melton
The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.
freebyte
I watched this film because I wanted to see Clara Bow's early work. The plot is as implausible as others have mentioned, and Clara is still learning her craft, but how she lights up the screen! When doing comic or action scenes, she is superb. I love the bit where she disguises herself as a maid and has to fend off amorous 'gentlemen'. I can see how she won the hearts of movie-goers of the era. She is so pretty and so naturally animated. What should be subtle... um... isn't, but Clara made 15 films in this same year -- no one was going to wait around for retakes and guidance of a young actress.There are some excellent comic moments from the rest of the cast, particularly Lillian Leighton as a French Ma Barker. She reminds me of W. C. Fields. You may be surprised at how much this movie entertains. Watch it for Bow, but enjoy the rest.
wes-connors
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
nycritic
With a plot line that is as convoluted as a ball of yarn, PARISIAN LOVE barely manages to escape ignominy due to the presence of Clara Bow, who with her huge eyes, expressive face, and earthy beauty just dying to burst out of its confines manages to transcend well beyond the material she was handed (which tended to be unremarkable, as she wasn't considered glamorous enough to garner or carry that sort of film). Even so, PARISIAN LOVE is an odd movie, one that starts out as a dance-duel between partners, evolves into an adventure, and then turns into a revenge drama where Bow's character decides to go after Armand (Donald Keith) after believing he has betrayed her love for him in a rather implausible way. All in all, it's an okay movie, for completists of Bow's cinematography only, but for anyone looking for true acting and in a timeless style, the preferred movie to view would be IT.
tedg
Spoilers herein.Usually when I comment on a film, it is in the context of ideas. I root myself in the notion that ideas can have power, including emotional effect. Further, I suppose that many of these ideas come from thinking filmmakers.That sets me apart from others that look for dramatic engagement and credit actors with great influence.But my reaction to this film is different than both. In this case, I am reminded that some things in life take on their own identity and do what is necessary to promulgate. Things like musical tunes can be thought of as living, selfish entities that adapt so that they stick in your mind and induce you to hum or play them so that they can similarly stick in someone else's mind.Ideas like equality and justice and god are in this class which is generally called `memes.'Powerful films are full of memes, many of which aren't known at the time. Some of these we notice after the fact. Here, we have a few phases in the language of eyes. This was a new language in 1920, just when movies were inheriting the soul of our culture, that place where we collectively develop our imaginations. And Clara Bow was the first great artist of sculpting emotions with her eyes.And once those eye-phrases are captured, they do what they need to to survive and promulgate. Their expression in this film is secure, as it is now on DVD and thoroughly distributed throughout the planet. Not even a dinosaur-sized asteroid could kill that now. But the more effective promulgation is that now some of Clara's phrases have entered the music of everyday sexual dialog.See this as one of the better vehicles for various opportunities she has to play her eyes, probably better than most of the others easily available. Otherwise the film is a waste, except for recalling a time when it made movie sense to portray a man of culture as a French scientist. That's a meme that is dead.Ted's Evaluation -- 2 of 3: Has some interesting elements.
