Marie St. Clair tror att hon blivit lämnad av sin fästman Jean, när han inte dyker upp för att möta henne på stationen. Så hon åker till Paris ensam. Ett år senare när hon blivit älskarinna åt den förmögne Pierre Revel, möter hon Jean igen, kastas fram och tillbaka mellan trygghet och sann kärlek.
Filmen är ej tillgänglig på MUBI men det finns 30 andra utsökta filmer att välja bland. Se vilka som visas nu
Actually an incredibly good drama/tragedy from Chaplin. I am amazed that he made this in 1923, at the height of his selling power as the biggest movie star on the planet. It's not as good as the comedies he starred in, but it is high quality stuff.
Programmed by Melbourne Cinematheque with a Lubitsch film, showing Chaplin under the influence. I may be haste in my derision, I found the milieu unpleasant and the compositions fairly rudimentary only to then be schooled by Liv Ullmann in my DVD extras. Perhaps I attributed a moral governance to the time rather than film, awakening to its levelled depictions of these complicated lives.
A solid drama about the dangers of being "sophisticated". Dramas of mundane existence didn't seem to find their voice, so to speak, until the advent of sound in cinema. It's just an extremely difficult genre to execute successfully in silent film, depending as it does more on dialogue than the more melodramatic action, spectacle, and comedy which made for successful silent films.
Charles Chaplin is not the star of this, his first serious drama. It's a silent film but Chaplin's direction of actors is so good that they don't overact, all seems very natural. the story is full of controversial or indecent themes for the time it was made (rebellious children, sex outside matrimony, women's lib). A very subtle novelty, as Chaplin said "it's all about how men and women tend to hide their emotions"
While intended as a centerpiece for Edna Purviance it ends up being the film's sleazy playboy villain that takes the limelight from her with his charming yet sly smile as he hunts down women for his nightly prey. It ends strong and show a dramatic side of Chaplin that he would use effectively in his comedies later on but never again in a melodramatic films like in this stand-alone box-office failure.