A Woman of Paris

Marie St. Clair and her fiancé, aspiring artist Jean Millet, plan to leave their small French village for Paris, where they will marry. On the night before their scheduled departure, Marie leaves her house for a rendezvous with Jean. Marie's stepfather locks her out of the house, telling her to find shelter elsewhere. Jean invites Marie to his parents' home, but his father also refuses to let her stay. Jean escorts Marie to the train station, and promises to return after going home to pack. When he arrives at home, he discovers his father has died. When Marie telephones Jean from the station he tells her they must postpone their trip without telling her why. She leaves on the train without him. A year later in Paris, Marie is enjoying a life of luxury as the mistress of wealthy businessman and philanderer Pierre Revel. A friend calls and invites Marie to a raucous party in the Latin Quarter. She gives Marie the address but cannot remember whether the apartment is in the building on the right or the left. Marie enters the wrong building and is surprised to be greeted by Jean, who shares a modest apartment with his mother. Marie tells Jean she would like for him to paint her portrait and gives him a card with her address. Jean calls on Marie at her apartment to begin the painting. Marie notices he is wearing a black armband and asks why he is in mourning. Jean tells Marie his father died the night she left without him. Marie and Jean revive their romance, and Marie distances herself from Pierre Revel. Jean finishes Marie's portrait, but instead of painting her wearing the elegant outfit she chose for the sitting, he paints her in the simple dress she wore on the night she left for Paris. Jean proposes to Marie. Jean's mother fights with him over the proposal. Marie arrives unexpectedly outside Jean's apartment just in time to overhear Jean pacify his mother, telling her that he proposed in a moment of weakness. Jean fails to convince Marie he did not mean what she overheard, and she returns to Pierre Revel. The following night, Jean slips a gun into his coat pocket and goes to the exclusive restaurant where Marie and Pierre are dining. Jean and Pierre get into a scuffle, and Jean is ejected from the dining room. Jean shoots himself in the foyer of the restaurant and dies. The police carry Jean's body to his apartment. Jean's mother retrieves the gun and goes to Marie's apartment, but Marie has gone to Jean's studio. Jean's mother returns and finds Marie sobbing by Jean's body. The two women reconcile and return to the French countryside, where they open a home for orphans in a country cottage. One morning, Marie and one of the girls in her care walk down the lane to get a pail of milk. Marie and the girl meet a group of sharecroppers who offer them a ride back in their horse-drawn wagon. At the same time, Pierre Revel and another gentleman are riding through the French countryside in a chauffeur-driven automobile. Pierre's companion asks him what had happened to Marie St. Clair. Pierre replies that he does not know. The automobile and the horse-drawn wagon pass each other, heading in opposite directions. ==Cast==

Two things distinguish this film from Chaplin's other work. The most obvious is that he does not appear in the film, at least not in his traditional role of the Tramp. He has a brief cameo as a porter in a train station. This role is inconspicuous and not credited. The other major difference between this and most of Chaplin's other work is that the film is a serious drama. Indeed, "only once did Chaplin depart from his usual form of expression in 1923 with the single dramatic venture, A Woman of Paris. Edna Purviance plays the lead as Marie St. Clair. One of Chaplin's reasons for producing the film was to help Purviance gain recognition as an actress without Chaplin at her side. Others were because he wanted to stay behind the camera and to make his first real drama. Despite his effort, Purviance did not achieve the level of success that she had in films with Chaplin's Tramp at her side. However, the film did help Adolphe Menjou gain some recognition. Chaplin and music associate Eric James created a score for a theatrical reissue. Chaplin elected to trim the film (approximately 8 minutes of footage was removed) for the reissue version to further tighten the action. The Museum of Modern Art held the world premiere of A Woman of Paris with Chaplin's new music soundtrack on December 23, 1976. The reissue version was given a theatrical release in 1977. ==Reception==

Contemporary response A Woman of Paris is the first feature Chaplin made with the company he co-founded, United Artists. Later assessments Chaplin biographer Jeffrey Vance champions A Woman of Paris and writes at length in Chaplin: Genius of the Cinema of the film's importance. Vance notes: Historian Lewis Jacobs reminds viewers that the full title of the film is A Woman of Paris: A Drama of Fate. As such, "the treatment of the story eliminated the moral tone that such a story would be expected to have. Chaplin called it a 'drama of fate': in it he tried to show the influence of circumstances upon people." Critic James R. Quirk in Photoplay (September 1923), noted that Chaplin achieves this through "an unrelenting realism that makes each incident seem inevitable." Chaplin comments upon the institution of marriage, questioning the mainstream view that it was a social blessing. When Marie tells her lover that she hopes for domestic security so as to raise a family, Pierre points out the window to the city street and a sordid tableau: an impoverished family trods past, the mother slapping a child, the father carrying a heavy burden and more children trailing behind the parents. ==Influence==

The film has been credited with influencing later filmmakers. In particular, the motivations and personalities of its characters had a complexity that was unconventional in the context of early 1920s American cinema. Historian Lewis Jacobs observes that A Woman of Paris inspired director Ernst Lubitsch's The Marriage Circle (1924), which, in turn influenced "dozens of other films." In A Woman of Paris, and other films of this genre, "the harlot and the adventuress were no longer hussies but women to esteem and emulate." ==References==