After Being an unknown singer in a Montmartre night club, Frau Célimène ( Frau Lili Damita ) is discovered by the Viscount de Maudry ( Herr Georges Tréville ) and the beautiful music-hall dancer becomes the new Paris sensation at the noble establishment " Nouvel Eden ". She is drawn to the Viscount who is an old man but who is, after all, the one responsible for discovering her. However, she also has another suitor in the good-looking young diplomat, Herr Miles Seward ( Herr Eric Barclay ), although he is already engaged to a bourgeoisie fräulein. Célimène flirts with both men constantly but finally makes up her mind, leaving her successful artistic career behind and going with the diplomat to Brittany to a lonely fishing village, a drastic and boring change for Célimène who very soon will yearn for her former fame and the lights of Paris.
Herr Miháli Kertész was a Hungarian film director who became very well-known in the talkie film world as Herr Michael Curtiz, an irrelevant fact for this German count who prefers to talk about older and silent times but such information will keep the longhaired new generation interested and educate them about those important directors who had a silent past. Herr Kertész worked in Hungary, Austria and Germany before going to America. “Das Spielzeug von Paris” (1925) is a film that belongs to his Austrian period.
In the film can be seen and appreciated a careful concern for detail and the remarkable art direction that was a trademark during Herr Kertész silent period. This is obvious in every scene of the film, from the Montmartre den of iniquity to the splendorous “Nouvel Eden” theatre, a crowded place where “le Tout Paris” is enjoying spectacular revues. And we must not forget the lavish mansions and luxurious wardrobe, especially Frau Célimène’s fashionable outfits. All these elements give the film the air of decadence necessary for a story about a mad and impossible love, an “amour fou” as a Frenchman said.
This sentimental “ménage à trois” in the film is further complicated by the other characters: Herr Seward’s fiancée, his sister and mother-in-law and Herr Viscount de Maudry’s mistress. The core of the story of course is the tormented relationship between Célimène and Miles, and though this is a familiar situation and a “classic silent one” this tale of doomed love builds in intensity and works perfectly in artistic and dramatic terms. However, at the end of the film, Herr Kertész puts forth a realistic and bitter conclusion: Célimène and Miles accept and realize the fact that their love is impossible and they must bow to the conventional and hypocritical unwritten rules of the society and circle they are part of.
Dame Lili Damita is the star of the film, wearing spectacular and lavish Parisian costumes throughout, except in Brittany obviously. She dances and allows herself be adored by her admirers, a classic silent diva but the exaggeration doesn’t matter because “Das Spielzeug von Paris” is overall a fantasy, a big show ( complete with musical numbers ). By Austrian film production standards, it’s sumptuous as well as being decadent even though it has the atmosphere of a modern operetta and is less bold and cynical that one would like.
And now, if you'll allow me, I must temporarily take my leave because this German Count has an appointment with a “Nouvel Eden” chorus girl.
Herr Graf Ferdinand Von Galitzien
-/-
Después de llevar una carrera como desconocida cantante en un club nocturno en Montmartre, Frau Célimène ( Frau Lili Damita ) is discovered by the Vicomte de Maudry (Herr Georges Treville), becoming the new sensation of the prestigious Parisian theater "Nouvel Eden" as his new and beautiful dancer. Célimène
is attracted by the Viscount, an elderly man and to which it owes its discovery and fame, but also has another suitor the above much younger and handsome, also a diplomat, Herr Miles Seward (Herr Eric Barclay) although the latter has committed to a bourgeois fräulien. Célimène
flirts with the two men alike, finally deciding on the young diplomat, leaving behind his successful career going with the above to a remote seaside village in Brittany, a drastic change for Célimène boring, which will soon be pining for the fame and the night lights of Paris. Herr
Mihali Kertész was a Hungarian director who is well known in the circles of talkies as Herr Michael Curtiz, a fact irrelevant to this latter count Germanic Herr Von preferring to talk about old times and silent, that this information all those hairy young modernists interested in the subject, we hope will be of benefit and well aware of the past silent about certain important directors film. Herr
Kertész his career in Hungary, Austria and Germany before leaving for the Americas, the film belong to us today, "Das Spielzeug von Paris" (1925) to Austrian stage.
The film is there a special taste and attention to detail, exceptional art direction for which he was highly regarded and recognized Herr Kertész during silent era, as seen in numerous scenes of the film, from the antrum of destruction of Montmartre to the magnificent theater "Nouvel Eden", a crowded place where all of Paris enjoy sumptuous musical performances, not to mention of the great mansions and lavish costumes, especially the one that looks Frau Célimène, suits them to the latest Parisian fashion, elements that give the film some much needed air decadent for a story that describes an impossible love, a " amour fou "as say the French style.
This ménage à trios "sentimental is complicated even more by being involved other characters in it, from the Seward Herr fiancee, his sister and his future mother, the mistress of Viscount Maudry, secondary characters which affects the stormy relationship between Célimène and Miles and although at times the film gives the feeling be at an obvious and too classic tale of love and doom silent, it works perfectly in terms of dramatic and artistic, being much more able end of the film when Herr Kertész offers a realistic and bitter conclusion to such a stormy relationship, when both Célimène and Miles realize and accept that their love is impossible and must accept certain unwritten rules and conventions of the circle and the society of which they form part. Lili Damita
Dame is the star of the film, wrapped it in spectacular and evocative Parisian clothes (except Brittany, obviously ...), dancing and let his fans admire, a character who happens to be the paradigm of silent diva but such overstatement does not matter too much in a film like this, for "Das Spielzeug von Paris" is primarily a musical fantasy, a great show on Austrian parameters, a sumptuous and decadent movie an air of modern operetta, although grateful, certainly more daring and cynicism on it to get a more rounded film.
And now, if I may, I have to leave because this aristocrat has a date with a chorus of "Nouvel Eden."
Herr Graf Ferdinand Von Galicia
Herr Miháli Kertész was a Hungarian film director who became very well-known in the talkie film world as Herr Michael Curtiz, an irrelevant fact for this German count who prefers to talk about older and silent times but such information will keep the longhaired new generation interested and educate them about those important directors who had a silent past. Herr Kertész worked in Hungary, Austria and Germany before going to America. “Das Spielzeug von Paris” (1925) is a film that belongs to his Austrian period.
In the film can be seen and appreciated a careful concern for detail and the remarkable art direction that was a trademark during Herr Kertész silent period. This is obvious in every scene of the film, from the Montmartre den of iniquity to the splendorous “Nouvel Eden” theatre, a crowded place where “le Tout Paris” is enjoying spectacular revues. And we must not forget the lavish mansions and luxurious wardrobe, especially Frau Célimène’s fashionable outfits. All these elements give the film the air of decadence necessary for a story about a mad and impossible love, an “amour fou” as a Frenchman said.
This sentimental “ménage à trois” in the film is further complicated by the other characters: Herr Seward’s fiancée, his sister and mother-in-law and Herr Viscount de Maudry’s mistress. The core of the story of course is the tormented relationship between Célimène and Miles, and though this is a familiar situation and a “classic silent one” this tale of doomed love builds in intensity and works perfectly in artistic and dramatic terms. However, at the end of the film, Herr Kertész puts forth a realistic and bitter conclusion: Célimène and Miles accept and realize the fact that their love is impossible and they must bow to the conventional and hypocritical unwritten rules of the society and circle they are part of.
Dame Lili Damita is the star of the film, wearing spectacular and lavish Parisian costumes throughout, except in Brittany obviously. She dances and allows herself be adored by her admirers, a classic silent diva but the exaggeration doesn’t matter because “Das Spielzeug von Paris” is overall a fantasy, a big show ( complete with musical numbers ). By Austrian film production standards, it’s sumptuous as well as being decadent even though it has the atmosphere of a modern operetta and is less bold and cynical that one would like.
And now, if you'll allow me, I must temporarily take my leave because this German Count has an appointment with a “Nouvel Eden” chorus girl.
Herr Graf Ferdinand Von Galitzien
-/-
Después de llevar una carrera como desconocida cantante en un club nocturno en Montmartre, Frau Célimène ( Frau Lili Damita ) is discovered by the Vicomte de Maudry (Herr Georges Treville), becoming the new sensation of the prestigious Parisian theater "Nouvel Eden" as his new and beautiful dancer. Célimène
is attracted by the Viscount, an elderly man and to which it owes its discovery and fame, but also has another suitor the above much younger and handsome, also a diplomat, Herr Miles Seward (Herr Eric Barclay) although the latter has committed to a bourgeois fräulien. Célimène
flirts with the two men alike, finally deciding on the young diplomat, leaving behind his successful career going with the above to a remote seaside village in Brittany, a drastic change for Célimène boring, which will soon be pining for the fame and the night lights of Paris. Herr
Mihali Kertész was a Hungarian director who is well known in the circles of talkies as Herr Michael Curtiz, a fact irrelevant to this latter count Germanic Herr Von preferring to talk about old times and silent, that this information all those hairy young modernists interested in the subject, we hope will be of benefit and well aware of the past silent about certain important directors film. Herr
Kertész his career in Hungary, Austria and Germany before leaving for the Americas, the film belong to us today, "Das Spielzeug von Paris" (1925) to Austrian stage.
The film is there a special taste and attention to detail, exceptional art direction for which he was highly regarded and recognized Herr Kertész during silent era, as seen in numerous scenes of the film, from the antrum of destruction of Montmartre to the magnificent theater "Nouvel Eden", a crowded place where all of Paris enjoy sumptuous musical performances, not to mention of the great mansions and lavish costumes, especially the one that looks Frau Célimène, suits them to the latest Parisian fashion, elements that give the film some much needed air decadent for a story that describes an impossible love, a " amour fou "as say the French style.
This ménage à trios "sentimental is complicated even more by being involved other characters in it, from the Seward Herr fiancee, his sister and his future mother, the mistress of Viscount Maudry, secondary characters which affects the stormy relationship between Célimène and Miles and although at times the film gives the feeling be at an obvious and too classic tale of love and doom silent, it works perfectly in terms of dramatic and artistic, being much more able end of the film when Herr Kertész offers a realistic and bitter conclusion to such a stormy relationship, when both Célimène and Miles realize and accept that their love is impossible and must accept certain unwritten rules and conventions of the circle and the society of which they form part. Lili Damita
Dame is the star of the film, wrapped it in spectacular and evocative Parisian clothes (except Brittany, obviously ...), dancing and let his fans admire, a character who happens to be the paradigm of silent diva but such overstatement does not matter too much in a film like this, for "Das Spielzeug von Paris" is primarily a musical fantasy, a great show on Austrian parameters, a sumptuous and decadent movie an air of modern operetta, although grateful, certainly more daring and cynicism on it to get a more rounded film.
And now, if I may, I have to leave because this aristocrat has a date with a chorus of "Nouvel Eden."
Herr Graf Ferdinand Von Galicia
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