La revue des revues

I can agree that this movie now stands more as a historical document than a fully fledged fictional work.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.

I could not be more pleased that Lobster Films in cooperation with various European cinematheques have seen fit to preserve this footage which is primarily a compilation of acts from the Folies Bergere and other Parisian variety shows. Included are two clips with Josephine Baker who was actually a pretty clunky dancer, but a larger than life personality. The framing story of a young girl hoping to hit it big in the business can be dismissed, as can the sub-plot of her claiming to be robbed in order to attract publicity. However, the early two-strip color filming of the various artistes is not to be missed by any one interested in the development of film techniques. It's a pity however that the orchestral score was so out of keeping with the period.

Wow, does this film have a horrible musical track on the DVD. Now you can't blame the original film makers--it was up to individual movie houses to provide whatever score they wanted with most silent films. Because of this, when silents are placed on DVD or shown on channels like Turner Classic Movies, they have modern composers create scores so the films aren't totally silent. Unfortunately, in the case of "La Revue des Revues" it has perhaps the most annoying and cacophonous accompaniments I have ever heard. It's like plunging knives into your ears to listen to it, so I was forced to turn off the sound part of he way into the movie. Why is it so bad? Well, part of it is because of the excessive use of electronic music--which just doesn't fit a film made in the 1920s. Another is because much of it sounds like free-form jazz sped up to twice normal speed! Yikes!

As far as the original film goes, it's quite striking to see such an early film with so much color. While the Pathé Color process was not true color, it was impressive for the time--and, in some ways, more pleasing to the eye than its competitor at the time, the Two-Color Technicolor process. Pathé Color relied on a small army of women with stencils to actually paint in the colors onto the print using rollers--a very, very time-consuming process to say the least. The biggest benefit was the color palette--you could use any color you liked. While the Two-Color Technicolor was a lot easier to use and cheaper and could be used to color the entire film (whereas the other process was usually just used in bits and pieces), it did tend to make films looks too strong of orange and green. It also usually lacked realism unless used selectively (such as in "The Phantom of the Opera"). Of the two, I still prefer the look of Two-Color if used well!

As far as the story goes, Gabrielle's story is actually just a thin way to try to connect live footage made of various acts of the time from the French stage--such as Josephine Baker. So, if you are looking for a story, keep looking--this is much better seen as a documentary of a bygone era. Overall, I'd give this film a 2 if you watch it with the sound turned on--it's THAT bad. But, without, it is a lovely historical record and a very well made film that deserves your attention and a 7.

By the way, there is a bit of nudity in this film--which shouldn't surprise you since this IS the Folies Bergère. Topless dancing sometimes was featured and I am a bit surprised more of this was not featured in the film. Since it is not gratuitous and is meant as more of a documentary, I wouldn't have any trouble letting kids see this--though I think most would be bored by it.

This German Count has always boasted of, besides his dissipated and idle life, how transgressive the cinema pioneers could be when they took bold risks and that those talkies you liked so much are not original at all in comparison with the silent films. Here is a great example, "La Revue Des Revues," a perfect illustration of your grandfathers' boldness because this film is a silent… musical.

Obviously, such directors ignored the customary rules and recognized no barriers to their art.

It's a simple story: a dressmaker becomes a Parisian music-hall star when she wins a bizarre contest, a kind of "Cinderella" reinterpretation in which the organizers are trying to find a girl with France's smallest feet (MEIN GOTT!!!... another incredible transgression and now with one of the most popular classic stories! We will not, however, take the time here to discuss aristocratic fetishism). This flimsy premise provides a perfect excuse to display a kind of collection of the greatest musical numbers being done during that year at the most important and emblematic Parisian theaters as the "Moulin Rouge", the "Folies Bergere" or the "Palace". These musical sequences are beautifully colored in a film restoration sponsored by "ARTE". We see, among "Art Decó" lavish settings, acrobats and many chorus-girls who wear magnificent and impossible motley and feather dresses. Standing out from all the others is the famous Josephine Baker who stars in two musical numbers.

Alas though, there are too many musical numbers which makes the film slow and overlong. The director does not seem totally in control and the performances are lifeless.

And now, if you'll allow me, I must temporarily take my leave because this German Count is remembering his early life and wants to dance a Charleston.

Hélène Hallier gives up a life as an underpaid seamstress to go n the stage.

There's about 30 minutes of story in this late silent movie. The rest of it is taken up in extravagant, Folies Bergeres-style revue numbers, featuring lots of pretty girl, some contemporary performers of some renown, and two brief numbers featuring Josephine Baker, demonstrating she can shimmy like my sister Kate. For the first hour, all of the extravagant chorus numbers with their fantastic costumes are shot straight on, clearly offering a proscenium view from the expensive seats. After that, some tighter shots are edited in.

It's also a major demonstration of Pathe color, a stencil system devised twenty years earlier. Most of the examples people get to see are from the 1905-1910 era, and age has not been kind to them; chemical decomposition has rendered most of them blotchy, faded and looking like they were crayoned in by a bored five-year-old. The sharply defined borders and bright colors on view in the copy of this movie that I saw show the value and strength of the technique that was perfected by Segundo de Chomon for the Pathe Freres. Nonetheless, it was on its wa out in the face of the constantly improving Technicolor; it was tremendously expensive to use, involving a lot of skilled hand labor to produce multiple stencils for every frame of a movie. Its last major use would be in 1930's ELSTREE CALLING, although Bunuel would use it as late as 1954.

As a record of the sort of act that a tourist might see in 1920s Paris, this movie is interesting. Given its wisp of a plot, and the fact that after seeing thirty numbers, the 31st is of limited interest, it's not so good.