Her Sister from Paris

Herr Sidney Franklin was one of those silent film directors whose work is a good example of craftsmanship and style. Unfortunately, his films have not gotten the attention they deserve which is surprising since he worked with many of the best actors and actresses in those silent days.

"Her Sister From Paris" (1925) is a good example of what this Herr Graf is talking about; a stylized comedy that works pretty well although at first sight it might seem a predictable and not very original film.

The film tells the story of Herr Joseph Weyringer and his wife ( Herr Ronald Colman and Constance Talmadge respectively ), they are in a not very amicable Austrian marriage and continually arguing with each other. The last big quarrel between them causes Herr Joseph's wife, Helen, to make the decision to leave her husband and go home to mother ( a dream come true for any commoner or aristocrat man! ). That same day, Helen's twin sister arrives in Vienna from the city of Paris where she is a very popular and fashionable artist known as "La Perry". She will help her sister with her disastrous marriage, planning that her sister impersonates her in order to win back her husband with the last Parisian charms and techniques.

With such a plot, obviously "Her Sister From Paris" is full of funny misunderstandings and confusing situations in which the changing female roles of the main characters ( Frau Constance Talmadge in a double role for the same expensive price ) create seductive scenes ( including an excessively and impudent kiss, too long by aristocratic standards ). The art of flirting is well demonstrated and we learn how a frustrated Austrian wife can transform herself from a dull housewife to a gorgeous modernen vamp and thus save her marriage by making it exciting again.

The actors are splendid; Herr Ronald Colman is perfect as the baffled husband willing to have an affair with his own sister-in-law though later he will feel guilt and torment and discover he does really love his wife, even though she has deceived him (a common situation world wide). Frau Constance Talmadge is equally good transforming herself from a vulgar bourgeoisie Austrian wife to a gorgeous Parisian vamp, a proper flapper of the time. No doubt she was greatly helped in her performance by Herr Franklin who was well known in those silent times as a film director capable of achieving excellent performances from his actresses although it must be said that Frau Talmadge was already a very important and successful comedy actress as can be seen in this deliciously wicked comedy.

And now, if you'll allow me, I must temporarily take my leave because this German Count is waiting for a rich heiress' even richer sister from Saarbrücken.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com

Constance Talmadge plays a dual role here; dowdy Helen whose husband, Joseph (Ronald Colman) is bored with her; and showgirl La Perry, who has 'had kings at her feet'. And what a sparkling actress she was.

It's a rollicking saga of mistaken identity and foolish husbands, helped along by the comedy support of George K Arthur as besotted family friend Bob. The performances are all top-notch and even in a damaged print with many signs of deterioration, this film still oozes class and is extremely funny.

Colman, too, shows his star quality and why he transferred seamlessly into the sound era. Here his reactions are priceless and the interplay between him and Talmadge is a joy to watch.

I just viewed this film (8-27-03) at the Stanford Theatre in Palo Alto. The review posted for this stated that the Constance Talmadge character posed as her "twin sister". After viewing the film, Ms. Talmadge actually played two parts, Helen and her twin sister Lola. In the film, Lola teaches Helen how to win back her husband using different "vampy" techniques

Constance Talmadge stars here in a dual role: the unhappy wife and her vivacious sister who happens to be a famous dancer.

The story opens with Talmadge and husband (Ronald Colman) having a marital spat. They are bored with each other and she drives away to go home to mother. Colman gets consolation from pal George K. Arthur, while she (Helen) decides to go to the train station to meet her famous sister.

In a flurry of reporters and flashing light bulbs, the sister (Lola but known as La Perry) detrains and notices her mousy sister waving a handkerchief. During their reunion Helen tells her tale of woe to her worldly wise sister who comes up with a nutty scheme to teach Colman a lesson. Since the sister are identical twins, with only a beauty mark to tell them apart, La Perry goes to work on "renovating" Helen and turning her into an exact double.

Colman meets his sister in law and is attracted to the dazzling creature with bobbed hair, but so is his pal (Arthur), With Helen safely back home with mother (so he thinks) the guys take La Perry out on the town.

Colman falls for La Perry and they make plans to run away together, ending up at the very hotel where they spent their honeymoon. Eventually Colman only realizes what's happening when La Perry removes her beauty spot to prove she is really Helen after all.

Talmadge is terrific. At age 28 she's at the top of her form and stardom and even pulls off a large and gaudy production number. She works well with Colman; they had starred together the year before in HER NIGHT OF ROMANCE.

Talmadge would follow this film with THE DUCHESS OF BUFFALO in 1926. In 1927 she starred in VENUS OF VENICE and BREAKFAST AT SUNRISE which was released right around the time of THE JAZZ SINGER. In 1929 she went to France and made her final film, VENUS. Constannce Talmadge never made a talkie.

Of note here are the clothes designed by Adrian very early in his career. He was discovered by Natacha Rambova and designed for Valentino's THE EAGLE and COBRA as well as the unfinished THE HOODED FALCON. He also designed for Rambova's WHAT PRICE BEAUTY.

It is sometimes hard to judge a film of the 1920's by today's standards because we don't have the same context. This film has no worse a goal than a zillion sitcoms from the 1950's in which a husband who takes his wife for granted is brought to his senses through the attentions and dismissal by another woman. In this case, the "other woman" is La Perry, Constance's characters twin sister who is a stage and cabaret star in Paris. Unlike "The Guardsman" or "Two Faced Woman" in this film the little wife HAS a twin sister, as they are seen in split screen scenes together.

It is a modest morality tale with the erring husband returning to the faithful wife.

Of note in this film are the costumes by Adrian, later M.G.M.'s premiere designer. In those scenes which feature La Perry's stage act, we can see a glimpse of what Adrian had brought to Irving Berlin's Music Box Revues of 1922 - 1925 and his other Broadway credits of the early 1920's before going to Hollywood to design for Valentino in 1924.