DbcultAccessing Vault...
Cult Review
Senior Film Conservator
“So This Is Paris Green” is one of those old silent comedies that, if you're not already into them, might just feel like a lot of frantic running around. But if you have a soft spot for the era's unique brand of chaos and physical humor, this one's a treat. Anyone looking for a quiet evening with classic slapstick will find something to smile about. If you need explosions or dialogue, best steer clear. 🏃♀️💨
The plot, well, it’s delightfully simple: a painting, rumored to be cursed or just super valuable, and a whole bunch of folks trying to get their hands on it. The film doesn't waste time explaining too much; it just throws everyone into the mix. It feels like the filmmakers just said, “Let’s make people run!”
Eddie Barry plays this earnest, slightly clueless guy who, naturally, gets tangled up in everything. You just know he’s gonna trip over his own feet at least three times. He does! And it’s great. His wide-eyed panic is quite endearing.
Louise Fazenda, though. She's the real star here. Her expressions alone are worth the price of admission (or, you know, clicking play). There's this one moment where she just *squints* at Bert Roach's character, and it tells a whole story without a single intertitle. It’s perfect, really. You can almost feel her exasperation through the grainy film. 😤 She can convey so much with just a tilt of her head.
Bert Roach, bless him, is playing the usual bumbling heavy, all bluster and no brains. He's got this particular way of getting tangled in a rug, and it's not super original, but it works. The sheer commitment to flailing is commendable. He just keeps trying, even when clearly outmatched.
The chase scenes are *wild*. They feel less choreographed and more like everyone just decided to run in different directions at once. One particular bit involves a revolving door that just keeps spitting people out. It goes on for a bit, maybe 15 seconds too long, and then it becomes funny again. That kind of timing, it’s a lost art. Or maybe it was just accidental. 🤔
I noticed a prop that kept popping up: a ridiculously oversized feather boa. It feels like it belongs in a different film entirely, but somehow it makes its way into every other scene. Someone's always wearing it, or tripping on it, or using it to dust something. It’s totally random, but it made me chuckle every time. It just adds to the overall *visual busy-ness*.
The intertitles are charmingly blunt. There’s one that just says, “He thinks he's clever.” Not “He *believes* himself to be intelligent,” just, “He thinks he's clever.” It’s so direct, like a friend whispering commentary. I appreciate that straightforwardness. It respects your intelligence without trying too hard.
George E. Stone pops up as this really shifty-looking waiter. He doesn't have much to do, but every time he's on screen, he's just *lurking*. You know he's up to no good, even if the film doesn't explicitly tell you what his deal is. A nice little background detail that sticks with you. What was his whole deal, anyway?
The print I watched, it had some flickering, which honestly, for a film from this era, feels right. Adds to the charm. Like watching history unfold. You can almost hear the old projector clattering away. The occasional jump cut just adds to the frantic pace.
The movie kinda settles into a pattern: someone tries to get something, someone else tries to stop them, then everyone chases each other. It's not reinventing the wheel, but it’s doing the wheel-chase pretty well. The energy never really dips, even when the gags get a little repetitive. You get used to the rhythm after a while.
And Yola d'Avril, her character is barely there, but she has this one *fantastic* eye roll when Eddie Barry messes up. It’s quick, you could miss it, but it’s there. A silent queen of sass. 💅 It says everything it needs to without a word.
This isn't a film that's going to change your life. It's not trying to be. It's just a good, solid dose of old-fashioned silliness. It's got heart, even if it's mostly focused on who can steal a MacGuffin the fastest. Sometimes that's all you need.
The ending, without giving anything away, just kind of... happens. It's not a grand resolution. More like everyone gets tired and decides to call it a day. Which, for this kind of film, actually feels appropriate. No big lessons, just a good laugh. You might even feel a little relieved for the characters.
IMDb —
1926
Community
Log in to comment.
