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A Woman of Paris: A Drama of Fate

A Woman of Paris: A Drama of Fate

Drama · Romance · 1923

When Marie St. Clair believes she has been jilted by her artist fiance Jean, she decides to leave for Paris on her own. After spending a year in the city as a mistress of the wealthy Pierre Revel, she is reunited with Jean by chance. This leaves her with the choice between a glamorous life in Paris, and the true love she left behind.

Movie details

A Woman of Paris: A Drama of Fate

“Humanity is composed not of heroes and villains.”

1923 Drama · Romance 1h 22m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

When Marie St. Clair believes she has been jilted by her artist fiance Jean, she decides to leave for Paris on her own. After spending a year in the city as a mistress of the wealthy Pierre Revel, she is reunited with Jean by chance. This leaves her with the choice between a glamorous life in Paris, and the true love she left behind.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over A Woman of Paris: A Drama of Fate?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Charlie Chaplin

Written by

Charlie Chaplin

Edna Purviance

Edna Purviance

Marie St. Clair

Clarence Geldart

Clarence Geldart

Marie's Step-Father

Carl Miller

Carl Miller

Jean Millet

Lydia Knott

Lydia Knott

Jean's Mother

Charles K. French

Charles K. French

Jean's Father

Adolphe Menjou

Adolphe Menjou

Pierre Revel

Betty Morrissey

Betty Morrissey

Fifi

Court is in session

Put A Woman of Paris: A Drama of Fate on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.