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Cult Review
Archivist John
Senior Editor
"The Cohens and the Kellys in Paris" is one of those old films that really feels like a specific moment in time. If you're into seeing how cultural clashes were played for laughs almost a century ago, and you have a soft spot for silent-era slapstick and melodrama, then yes, this might be a surprisingly enjoyable watch. But if you're looking for something with modern pacing, nuanced characters, or comedy that doesn't rely on broad stereotypes, you'll probably find yourself a bit bored. It’s a gentle, if sometimes *a bit creaky*, trip down memory lane.
The whole premise is built on this classic idea: two families, the Cohens and the Kellys, who just cannot get along. Nate Cohen (George Sidney) and Patrick Kelly (J. Farrell MacDonald) are supposed to be business partners, but they spend most of their time bickering. You feel the constant tension between them even in the quiet moments.
When their kids, Sadye (Sue Carol) and Pat Jr. (Charles Delaney), decide they're getting married in Paris, it sends the parents into a full-blown panic. This leads to the best part of the movie, really: the journey across the Atlantic. The ocean liner scenes are where most of the physical comedy and near-misses happen, and it's quite fun to watch them try to avoid each other.
There's a great shot of Nate Cohen, all prim and proper, trying to enjoy his deck chair while Patrick Kelly's boisterous family is just a few feet away, making a racket. You can almost feel the *steam* coming out of his ears. It’s a simple visual gag, but effective.
The wives, played by Vera Gordon (Mrs. Cohen) and Gertrude Astor (Mrs. Kelly), often feel like they're caught in the middle. They try to mediate, or sometimes they just add to the chaos. Gertrude Astor, especially, has some wonderfully expressive moments when things go completely off the rails.
When they finally land in Paris, the movie takes a bit of a strange turn. The plot, as promised, "radically changed." It feels like the writers, Albert DeMond, Alfred A. Cohn, and Jack Mintz, threw in a curveball just to keep things moving. This twist, while unexpected, doesn't always land with the same comedic punch as the initial family feud. It shifts the tone a bit, from a family comedy to something more akin to a light mystery or misunderstanding.
The young lovers, Sadye and Pat Jr., are almost secondary to their parents' drama. Their romance is less about deep chemistry and more about being the catalyst for the older generation's antics. You don't really get invested in *their* story as much as you do in the parents trying to stop it.
Some of the Parisian street scenes feel a little... *empty*. Like they didn't quite have enough extras to fill out the background, or perhaps they were trying to make a few sets look bigger than they were. It takes you out of the moment slightly, breaking the illusion of a bustling city.
There are a few moments of genuinely funny physical comedy, especially from George Sidney. His exasperated expressions and quick reactions are a highlight. He carries a lot of the humor on his shoulders. J. Farrell MacDonald, as Kelly, leans more into the bluster, which is a good contrast.
However, some scenes do drag a little. The setup for certain gags feels stretched, and you can almost feel the movie *waiting* for the audience to catch up. It's a pacing thing that modern viewers might find challenging. The silence can sometimes feel a bit too long when a joke isn't quite landing.
The film doesn't delve deep into the cultural differences beyond the very surface-level stereotypes, which is expected for its time. It’s more about the *idea* of the feud than any real exploration of it. If you can approach it with that understanding, it’s easier to enjoy the lightheartedness.
Overall, "The Cohens and the Kellys in Paris" is a peculiar little film. It’s not going to change your world, but it offers a peek into a different era of comedy. You'll find yourself smiling at the sheer audacity of the parents, even if the plot gets a little convoluted towards the end. It's a *curiosity* more than a masterpiece, but one that has its own quirky charm. ✨
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