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Korol Parizha (1917)

| Drama
The astute Rascol Venkov convinces young cardsharp Roger Brémond to ally with him and together loot Parisian high society cheating in casinos.

Directors:

Yevgeny Bauer, Olga Rakhmanova (co-director)

Writer:

Georges Ohnet (novel)
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Cast

Credited cast:
Vjacheslav Svoboda Vjacheslav Svoboda ... Roger 'King of Paris'
Nikolai Radin ... Rascol Venkov
Emma Bauer Emma Bauer ... Furstin Von Dorstein
Mikhail Stalski Mikhail Stalski ... Jean Hiénard, Duke von Dorstein
Lidiya Koreneva Lidiya Koreneva ... Lucienne Marechal
Marija Boldireva Marija Boldireva ... Juliette
Elena Juzhnaja Elena Juzhnaja
Marija Kulikova Marija Kulikova
Rest of cast listed alphabetically:
Jean Guénard Jean Guénard
Vera Karalli
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Storyline

The astute Rascol Venkov convinces young cardsharp Roger Brémond to ally with him and together loot Parisian high society cheating in casinos.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Russia

Also Known As:

El rey de París See more »

Company Credits

Production Co:

Khanzhonkov See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Connections

Featured in A Man from Boulevard des Capucines (1987) See more »

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User Reviews

 
Bauer's Last Film
11 March 2018 | by bobliptonSee all my reviews

What wold have happened to Yevgeni Bauer had he not died in a Yalta hospital in June of 1917, soon after completing this film? Would he have fled to the West, like his star Muzzhekin? Adapted and make his way in and out of favor, like his assistant Kuleshov? Backed the wrong political horse and been shot? Well, we can blame a lot of things on the Bolsheviks that they may have had little to do with, just as they did for the previous regime, but not this death.

The story is one of those Evil Mastermind Sets Out to Control the World -- or at least fashionable Paris -- that was fashionable back in the day. Vjacheslav Svoboda is a cardsharp; Nikolai Radin bankrolls him and tells him that he can make money, women, even nobility. As their success grows, so does their ambition, until they run into real aristocrats, whose lives and ambitions they begin to interfere with.

The set-ups and camera-work look like variations on Pre-War French efforts. That's not surprising; Russian film-making had begun when French companies like Pathe Freres started shooting there a dozen years earlier. Therefore, the camera doesn't move from one shot to the next. There are a lot of titles to explain the interesting story, but the overall effect is interesting, if not among Bauer's best.


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