IMDb > La revue des revues (1927)

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Release Date:
1928 (Austria) See more »
Gabrielle (Helene Hallier), an ambitious but innocent would-be young chorine, trumps a music hall publicity... See more » | Add synopsis »
User Reviews:
Should Have Been More Contemporary See more (6 total) »


  (in credits order)

Directed by
Joe Francis  (as Joe Francys)
Writing credits
(in alphabetical order)
Joe Francis  story (as Joe Francys)
Clément Vautel 

Produced by
Alex Nalpas .... producer
Original Music by
Cinematography by
Jimmy Berliet 
Maurice Guillemin 
Lenny Borger .... special thanks


Additional Details

Also Known As:
103 min (restored)
Color (Pathécolor) (partial)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:

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Movie Connections:
Alternate language version of Die Frauen von Folies Bergères (1927)See more »


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Should Have Been More Contemporary, 9 November 2016
Author: Richard Chatten from Crystal Palace

The grotesquely inappropriate musical accompaniment by Taranta-Bubu, the emphasis of the plot on foot fetishism and Josephine Baker's contributions having already been discussed by previous reviewers, here are a few brief words on the other production numbers which comprise about three quarters of the film.

They nearly all suffer from being extremely unimaginatively photographed from the point of view of a theatre audience, the choreography generally seems to consist of the performers simply marching laterally back and forth across a rather crowded stage displaying a variety of almost comically elaborate (and generally disappointingly unscanty) costumes and even more comically elaborate hats - the rather Edwardian nature of the costumes emphasised by the number of production numbers staged in period costume (usually 18th Century).

Aside from the two Josephine Baker numbers, the three other routines with a contemporary ambiance appropriate to the 1920s were: 'Les Poissons d'Avril' with Erna Carise briefly displaying herself slinkily attired as a snake; 'Le Temple Egyptien', its Ancient Egyptian setting ironically inspiring a faintly avant garde sequence that would have gone well with Stravinsky rather than the caterwauling by Taranta-Bubu that all the other reviewers have complained about; and finally Lila Nikolska, performing in an understated little tassled tutu flanked by a much smaller chorus in less fussy costumes and on a far less fussily decorated stage than anything that has preceded it, and all the more effective for it.

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