'A Woman of Paris' is rather a curiosity in Charles Chaplin's filmography. It stands as the only pure drama he wrote and directed. The film he made just to help foster Edna Purviance's career independent from him. This film was Edna's first and practically the last leading role ('A Woman of the Sea' from 1926 was never released and is now considered to be lost), which, of course, is a pity, because besides being gorgeous, she was a fine actress, and was able to shine on her own not only as of the sidekick of The Tramp. The complex role Marie St. Clair proved that. The film itself was a failure at cinemas not because it was bad (critics at that time liked it), but because Chaplin wasn't in it (only for a brief cameo - a man carrying the box in the trainstation). And it was, oh the horror! a drama.
I guess that's the reason, why Chaplin never tried his hand at a serious movie ever again (although he experimented with quite risky stuff later in his career). That's another pity - because Chaplin truly knew how to create complex characters amid moral turmoils and dilemmas. 'A Woman of Paris' is undoubtedly with flaws. Well, it was practically Chaplin's second feature film and the first time where he ventured that far from his comfort zone.
Altogether, 'A Woman in Paris' is a good drama (probably a bit overly melodramatic by the end), and needs more recognition from Chaplin fans and all silent cinema admirers alike. It really shows that Chaplin was much more diverse and deep as a filmmaker than just offering magnificent laughs.
I guess that's the reason, why Chaplin never tried his hand at a serious movie ever again (although he experimented with quite risky stuff later in his career). That's another pity - because Chaplin truly knew how to create complex characters amid moral turmoils and dilemmas. 'A Woman of Paris' is undoubtedly with flaws. Well, it was practically Chaplin's second feature film and the first time where he ventured that far from his comfort zone.
Altogether, 'A Woman in Paris' is a good drama (probably a bit overly melodramatic by the end), and needs more recognition from Chaplin fans and all silent cinema admirers alike. It really shows that Chaplin was much more diverse and deep as a filmmaker than just offering magnificent laughs.