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La boheme (1926)
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Overview
User Rating:
Release Date:
24 February 1926 (USA) morePlot:
It is 1830 in Paris and the rent is due, but the money is not there. An article here, a painting there... more | add synopsisUser Comments:
Superb Gish performance highlights classic tale of struggling artists and lovers moreCast
(Complete credited cast) | Lillian Gish | ... | Mimi |
 | John Gilbert | ... | Rodolphe |
 | Renée Adorée | ... | Musette |
| George Hassell | ... | Schaunard |
| Roy D'Arcy | ... | Vicomte Paul |
 | Edward Everett Horton | ... | Colline |
| Karl Dane | ... | Benoit |
| Mathilde Comont | ... | Madame Benoit |
 | Gino Corrado | ... | Marcel |
| Eugene Pouyet | ... | Bernard (as Gene Pouyet) |
| Frank Currier | ... | Theatre Manager |
| David Mir | ... | Alexis |
| Catherine Vidor | ... | Louise |
| Valentina Zimina | ... | Phemie |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
95 minCountry:
USAColor:
Black and WhiteAspect Ratio:
1.33 : 1 moreSound Mix:
SilentCertification:
USA:Passed (National Board of Review)Fun Stuff
Trivia:
John Gilbert was infatuated with Lillian Gish, and would mess up his "love scenes" with her on purpose, so he could keep kissing her. moreFAQ
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Discuss this movie with other users on IMDb message board for La boheme (1926)| Recent Posts (updated daily) | User |
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Perfect casting - John Gilbert as the dashing, romantic and wildly jealous Rodolphe and Lillian Gish as the sweet, quiet, enduring Mimi. This tale of struggling artists in the Parisian garrets of 1830 is based on the original tale, not the Puccini opera. It is grandly romantic and superbly directed by King Vidor. Gish's work here is arguably the finest of her career. Her face is astonishing, registering fleeting emotions and always underplaying. The scene where she must give up her possessions at a pawn shop to pay her rent is amazing, her eyes darting farewells at each treasure which is tossed aside by the pawnbroker. One can with Gish see her think as well as feel. The last scenes where she drags herself through Paris, dying, to be with the now successful Rodolphe are unique in cinema - we've never seen anything before or since so convincing of near-death activity. Her death itself is simply a roll of the eyes upward - the absence of life - no histrionics here. A performance worthy of an Oscar. See this one.