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Paths to Paradise (1925)

A con-woman has a nice business going in fleecing gullible tourists who want a genuine 'underworld' experience -- but the tables are turned when one of her victims turns out to be less ... See full summary »



(play), (screen play by)


Credited cast:
The Dude from Duluth
Chief of Detectives Callahan
Bert Woodruff ...
Bride's Father
Rest of cast listed alphabetically:
Clem Beauchamp


A con-woman has a nice business going in fleecing gullible tourists who want a genuine 'underworld' experience -- but the tables are turned when one of her victims turns out to be less innocent than he looks! Dodging the city detective who knows her by sight and wants her to "go straight", she next sets her sights on a valuable diamond pendant; but when her elegant nemesis turns up at the scene of the would-be crime, it becomes a race to see who can carry out the con first... Written by Igenlode Wordsmith

Plot Summary | Add Synopsis


A rollicking comedy of two crooks who make you laugh all the way from San Francisco to Mexico--and back again.


Comedy | Crime | Romance




Release Date:

29 June 1925 (USA)  »

Also Known As:

Brudegaven  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?


The opening feature for the 50th Cinecon Film Festival in Los Angeles. See more »


Version of Hold That Blonde! (1945) See more »

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User Reviews

Sprightly comedy from impressive, forgotten silent comic
12 February 2000 | by (Chicago) – See all my reviews

Though much of Raymond Griffith's work is lost, this film and Hands Up! have earned him a reputation as one of the most important silent comedians beyond the pantheon names (Chaplin, Keaton, et al.). This is a very sprightly comedy, but those looking for proof of Walter Kerr's contention that Griffith is a comedian in that class will be disappointed. Not because Griffith isn't very skilled, but because he isn't an outright comedian-- not unless you consider William Powell in the same group as the Marx Brothers and Abbott & Costello.

What Paths to Paradise resembles most is sound comedies about cheerfully amoral tuxedoed criminals like Trouble in Paradise, Jewel Robbery or The Lady Eve. Griffith and Betty Compson (who has equal screen time and in fact slightly overshadows Griffith) are rivals who both worm their way into the home of an aged and rather careless zillionaire who has acquired a big diamond. As in those sound films, much of the humor comes from the amoral delight that the criminals take in their work, not in elaborate visual gags. Even when the film climaxes in a primarily visual sequence-- a car chase-- the humor comes not from the sort of frantic, topper-on-topper gag sequence you might expect from Lloyd, say, but from the sheer aplomb with which Griffith changes a tire at high speed without mussing his evening wear. In fact overall his character, with his bemused, droll reactions (and the line readings you imagine to go with them), seems more suited to sound than silence, and it was only Griffith's weak speaking voice (his vocal cords had been damaged earlier in life) that led him to give up acting for producing after sound came in.

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