Lucienne, typist and gorgeous bathing beauty, decides to enter the 'Miss Europe' pageant sponsored by the French newspaper she works for. She finds her jealous lover Andre violently ...
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Roscoe 'Fatty' Arbuckle
William B. Davidson
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Lucienne, typist and gorgeous bathing beauty, decides to enter the 'Miss Europe' pageant sponsored by the French newspaper she works for. She finds her jealous lover Andre violently disapproves of such events and tries to withdraw, but it's too late; she's even then being named Miss France. The night Andre planned to propose to her, she's being whisked off to the Miss Europe finals in Spain, where admirers swarm around her. Win or lose, what will the harvest be? Written by
Rod Crawford <email@example.com>
A wonderful surprise! I've always heard that Louise Brooks' follow-up to her two star-making hits with G.W. Pabst was a pleasant but inconsequential swan song. I thought it was very good, with an absolutely brilliant performance by Brooks. Co-written by Pabst and Rene Clair, this is basically a silent movie with overdubbed sound. Thus, the director is able to avoid the stodginess that comes with early sound filmmaking. He uses a very intimate, fluid style with the camera drifting through crowds to discover the beautiful Ms. Brooks' face. The one big problem the film has is that Brooks' love interest (Georges Charlia) is so totally unworthy of Brooks from the start that you can never come close to sympathizing with him. But that's not that important, really. Brooks plays Charlia's fiancée. He forbids her from entering the Miss France contest, but she's already done so. When she wins the opportunity to compete for Miss Europe, she chooses to disobey him. When she wins the competition, the fame and male attention drives her back to Charlia. But poor, married life soon seems much worse to her. The film is extremely worthwhile just for the expressions of Brooks' face alone. Though she has words, as dubbed in by a French actress, she doesn't need them. Her smiles seem created by a filmmaking Leonardo, and her pains are ours. Lulu could never have survived in the talkies (and I've seen the proof, a short film she made with Roscoe Arbuckle shortly after this one), and perhaps the loss of Brooks is the greatest of the talking picture era.
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