Actually there is only one wicked lady as Beryl Baxter's Therese is virtuous throughout, despite what is sometimes claimed.
How do you rate a film like The Idol Of Paris which received a welcome big-screen outing at the BFI Southbank yesterday, its first showing in decades? Much of the story is absurd and some of the situations and dialogue pure Ernie Wise, but is hugely entertaining despite or partially because of that.
This attempt by Leslie Arliss, Maurice Ostrer and co to replicate their former triumphs at Gainsborough is chiefly remembered for its whip fight or strictly speaking duel between Therese and Cora Pearl, a highlight which is certainly executed with aplomb. One would have thought the moral outrage affected by the press at this would have guaranteed the film's success, but it was not to be.
It seems unjust that Beryl Baxter's career was stopped in its tracks, as she does everything that is required of her and makes an effective heroine. Christine Norden was surely never better than as the glamorous bitchy Cora while Miles Malleson is atypically forceful as Offenbach. Mischa Spoliansky, whose music enlivened so many British films of the time, contributes a memorable score, primarily his 'Dedication'.
How do you rate a film like The Idol Of Paris which received a welcome big-screen outing at the BFI Southbank yesterday, its first showing in decades? Much of the story is absurd and some of the situations and dialogue pure Ernie Wise, but is hugely entertaining despite or partially because of that.
This attempt by Leslie Arliss, Maurice Ostrer and co to replicate their former triumphs at Gainsborough is chiefly remembered for its whip fight or strictly speaking duel between Therese and Cora Pearl, a highlight which is certainly executed with aplomb. One would have thought the moral outrage affected by the press at this would have guaranteed the film's success, but it was not to be.
It seems unjust that Beryl Baxter's career was stopped in its tracks, as she does everything that is required of her and makes an effective heroine. Christine Norden was surely never better than as the glamorous bitchy Cora while Miles Malleson is atypically forceful as Offenbach. Mischa Spoliansky, whose music enlivened so many British films of the time, contributes a memorable score, primarily his 'Dedication'.