In 1918 a simple Mongolian herdsman escapes to the hills after brawling with a western capitalist fur trader who cheats him. In 1920 he helps the partisans fight for the Soviets against the... See full summary »
Denise, an orphaned girl, moves to Paris where she hopes to find work at her uncle's store. But the glamorous department store 'Aux Bonheur des Dames' across the street crunches all the little businesses around. She finds a position there.
Gabrielle (Helene Hallier), an ambitious but innocent would-be young chorine, trumps a music hall publicity stunt to become the new Parisian nightclub Cinderella. But this lighter-than-champagne-bubbles story is only a pretext for LA REVUE DES REVUES's white-hot, non-stop procession of outrageously and scantily attired exotic dancers, showgirls, and acrobats including the TillerÂ¹s Follies Girls, Ruth Zackey and the Hoffmann Girls, and danseuse russe Lila Nikolska. But it's Josephine Baker, "the high priestess of primitivism" (J. Hoberman Village Voice), who triumphs in two show stopping numbers in which "her clownish backfield-in-motion Charleston shimmy is unlike anything else in the movie and perhaps unlike anything anyone ever did." Written by
I can agree that this movie now stands more as a historical document than a fully fledged fictional work. While there is a plot it's overwhelmed by the lengthy dance numbers featuring various stars of the day (i.e. Josephine Baker). This will interest anyone in costume history, early 20th century entertainment, dance or those interested in early film techniques.
It should be noted that the color is not the 2 strip Technicolor process but is either created through hand tinting or more likely through a stencil tinting process called Pathécolor/Pathéchrome. You can that it is a tint versus being a color print as you can see many scenes where the color either doesn't line up the actual outlines of the image or where only certain areas of the screen are tinted.
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