Theatrical poster for A Gentleman of Paris (1927). Source: Pinterest
Adolphe Menjou vows to become a new person, once he attends to a few private matters, in this high society comedy. The film depicts a French nobleman scrambling to end romantic affairs at the surprise arrival of his fiance. When one of his affairs is discovered by a person close to him, his place in society is threatened. Adolphe Menjou’s sophisticated humor keeps the plot from becoming deplorable, although it’s very tame by today’s standards. In fact, I could imagine Menjou’s voice as I read the title cards of his character. The film is an adaptation of the novel Bellamy The Magnificent by Roy Horniman. However the movie’s plot reminded me of an idea that a witty writer of the era, such as Dornford Yates, could’ve reworked into a whimsical tale. A Gentleman of Paris (1927) has camera movement and editing that feels modern with opulent sets taking the audience into the elegant, if not chaotic, world of Marquis de Marignan.
Previously I wrote about Little Miss Marker (1934), where Menjou played a very different character of a bookie affected by the Depression, for those interested in the roles he played after silents. I watched A Gentleman of Paris (1927) on Youtube and while it’s watchable, the print is a little dark but I have done my best with the screenshots.
Character Design
Costume Design, Hair and Makeup: Unknown
Adolphe Menjou as the Marquis de Marignan in A Gentleman of Paris (1927).
Adolphe Menjou plays Marquis de Marignan, also known as Edouard. Menjou’s signature mustache, tailored style and poised temperament established him as a lead actor with worldly appeal. His career kept him working in movies, radio and TV until his final role in Walt Disney’s Pollyanna (1960), three years before his death. As Edouard, he’s debonair and pleasant while managing pressure with an obliging manner. Menjou adds a few touches to show his character’s nerves by dabbing his forehead with a handkerchief and naturalistic facial expressions. On the left is Menjou’s costume for the scene greeting his guests. The boutonnière suits the formal occasion of his fiance and her father. Likely his tie is silk, judging by the appearance of the material, emphasizing a well dressed man. On the right is his formal suit and top hat during the day while having an appointment to end a relationship. Stickpins served to keep a tie in place, however Edouard has two. I felt the formal attire alluded to the subject of his evenings of dinner and dancing, with a touch of traditional style that he may incorporated as a nobleman.
Shirley O’Hara as Jacqueline in A Gentleman of Paris (1927).
Shirley O’Hara plays Jacqueline, Edouard’s fiance. My only critique is there’s no mention of how she first met Edouard. I wondered if it was an arranged marriage since she’s chaperoned, their communication is polite yet somewhat shy and they don’t go anywhere alone. O’Hara’s film career was brief and aside from this role, she’s remembered for The Wild Party (1929) starring Clara Bow. As Jacqueline, she’s kind and understanding. The most telling scene of how different she is from the women Edouard has known is when she jokingly imitates the mannerisms he’s accustomed to by smoking a cigarette (and then coughing uncontrollably) while crossing her legs. On the left is her dress when she first arrives in Paris. The drop waist dress, cloche and fur wrap indicate she’s a modern young woman, while the movement of the costume suits her character’s cheerful mood when she arrives. On the right is her evening gown at a weekend party. The soft layers of the gown emphasize her character’s graceful nature. I felt the fabrics of O’Hara’s costumes symbolize the movement her character has to go about freely without transgression.
Set Design
Art Director, Set Decorator: Unknown
Set design of Edouard’s (Adolphe Menjou) apartment in A Gentleman of Paris (1927).
The sets had an illusion of depth fitting the backdrop of French society. Above is the set of Edouard’s apartment. I felt the absence of clutter revealed that while he has a polished style, he doesn’t take himself seriously to crowd heirlooms. The apartment’s size is ideal for one person, combined with a lack of scenes with guests over, suggests he lives an independent life away from large crowds. This may have been to complement discretion. On the left is part of the living room with French doors leading to a balcony appropriate for the location. Behind him the bookshelf suggests that he’s well read. On the right is his bedroom. A twin bed, as opposed to a larger one, emphasized he’s single for the time being. The table in the far right corner features framed photos of the women he has dated, later removed to demonstrate his efforts. Overall there’s classical touches of high ceilings, tall windows, and candlestick light fixtures, with the then contemporary Art Deco bed and matching dresser.
A Gentleman of Paris (1927) keeps a comedic tone with a touch of drama towards the end of the movie. The ending seemed to have audiences reconsider what a gentleman really is, as Menjou comes through not by his title, but a trait that cannot be bought or inherited. This rare silent film is a pleasant hour for audiences who enjoy a fun drawing room type-comedy or Adolphe Menjou’s characterizations.
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