Plantiana Yawn. Poorly Filmed Snooze Fest.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Michael_Elliott Parisian Love (1925)** (out of 4) A lot of times "B" movies are put down for not having enough plot and not running long enough to matter. That saying is really put to the test here as this film runs a mere 62-minutes but there are enough plots here for ten movies. The film starts out as Apache lovers Marie (Clara Bow) and Armand (Donald Keith) break into the house of the rich Pierre Marcel (Lou Tellegen). Marie takes off when the police arrive but Armand becomes "friends" with Pierre who eventually saves him from blood poisoning. Still awake? Pierre then hooks Armand up with another woman, which Marie finds out about as she's gone undercover in the house as a maid. This upsets Marie so she plans on marrying Pierre to get even with him while other goons try robbing him for more money. There are several other subplots going on in this thing, which happens to be just one of fifteen movies Bow would make in 1925. The amazing thing here is how much stuff they try throwing at the viewer and for the life of me I really can't figure out what it was for. There's really no romance here even though, I guess, in the end that's what the story is suppose to be about. None of the goons are ever threatening and there's no tension from anything that happens with them. There's very little comedy and there's really no strong character development. There's pretty much nothing going on here but the thing is just so weird, so over-the-top that you can't help but keep watching just to see what's going to happen next. I would call this a really bizarre film but it's worth noting that director Gasnier would later make REEFER MADNESS so I guess this film could have gone even further (although there is a cocaine snorting scene here). I think the main reason people will be drawn to this film is just to see Bow. This isn't the greatest performance out there but she does a fair job with the role. Some of her acting towards the end of the picture is too far out there but she's nice to look at. Keith is a tad bit too bland in his role and Tellegen is so far gone that you can't help think he'd perfectly fit into REEFER MADNESS.

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.