A Woman of Paris

Studio: The Criterion Collection

Mar 14, 2025 Web Exclusive By Kaveh Jalinous Photography by The Criterion Collection

Exciting (or devastating) news for Charlie Chaplin fans, silent cinema fanatics and/or general cinephiles: A Woman of Paris (1923) is not a comedy. In case the subtitle of Chaplin’s film (“A Drama of Fate”) doesn’t give it away, the iconic actor and comedian even announces, in the film’s opening, that the film is “the first serious drama written and directed by [himself].” Moreover, barring a brief cameo, Chaplin isn’t even in the film (a fact also mentioned at the film’s beginning). Regardless of how A Woman of Paris goes against everything we assume Chaplin to be—the scene commanding, bowler hat donning icon—it’s actually a refreshing reminder of how great a filmmaker Chaplin was.

A Woman of Paris charts the love triangle between Marie St. Clair (Edna Purviance), Jean Millet (Carl Miller) and Pierre Revel (Adolphe Menjou). The film’s opening act is set in a small French village and follows the relationship between Marie and Jean, much to the dismay of both of their parents. To chase their happiness, the two decide to flee to Paris together. Marie goes to the train station; Jean goes home to grab his belongings. While there, Jean’s father dies. Thinking Jean stood her up, Marie takes the train and leaves him behind.

Flash-forward one year. Marie is living a luxurious, opulent life in the City of Lights/Love. She’s together with the aristocratic businessman Pierre; the two spend their nights eating fancy food and partying. In a twist of fate, Marie crosses paths with Jean, who’s now living in the city’s humble Latin Quarter as a painter. As every love triangle does, things get complicated from this point forward.

While it may not reach the heights that some of Chaplin’s other films do, A Woman of Paris is a remarkably competent silent film. The plot is simple and streamlined enough to keep you entertained from start to finish, even if the film’s 81-minute runtime feels a tad too long. The film’s pacing smartly oscillates depending on which lover Marie is with. Sequences shared with Pierre feel fast-paced and frenetic, a direct reflection of the over-the-top environments and social milieu that the character tends to operate in. In contrast, sequences with Jean are a bit slower and methodical, as the two characters slowly break out of the formal and diplomatic mold that time has covered their relationship with. The fact that Pierre represents money and lavishness, while Jean represents love and simplicity, adds an even sharper tension to the film—always commanding your attention, even when the story feels sluggish.

Formally, A Woman of Paris is excellent. It doesn’t take long to realize how much intent is infused into each shot. Early on in the film (mere minutes in), there’s an excellent use of shadowing to depict Marie’s father as villainous as he walks up a staircase, his shadow becoming larger and more monstrous with each step. The lavish parties of the Parisian elite require more athletic filmmaking, and Chaplin delivers; each shot’s blocking feels like a work of art in itself. The fact that A Woman of Paris is only Chaplin’s second feature (following The Kid in 1921; another iconic work of art) is truly impressive, and the film showcases many of the acrobatic filmmaking techniques the director would eventually infuse into some of his better-known works.

The Criterion Collection’s new edition of the film is well worth a purchase. The 4K digital restoration looks incredible. The film’s contrasts are so crisp, its quality is so highly rendered; it’s one of those film-watching experiences that make you grateful that the proper technology is available to preserve and infuse new life into a 102-year-old work of art. The edition also comes with a variety of featurettes, including a video essay by Jeffrey Vance, deleted shots from the film and a documentary about the making of the film.

(www.criterion.com/films/27582-a-woman-of-paris)

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