French film star Danielle Darrieux made her American debut in The Rage in Paris. She plays a fortune seeking gal who's set her cap for Louis Hayward, but has Douglas Fairbanks, Jr. running interference for his good friend.
She got good notices for The Rage in Paris and deservedly so. She made the decision however to go back to her own country and got to spend four years with some uninvited guests. Who knows what direction her career would have taken had she stayed here.
Anyway, Danielle is pretty but broke, desperate for a job she grabs a ticket from an employment office for what she thinks is a modeling job and gets to Douglas Fairbanks, Jr.'s office and proceeds to take her clothes off. She beats a hasty retreat however when she realizes the big boo-boo she made with Fairbanks, somewhat amused.
Later on gal pal Helen Broderick and her friend head waiter Mischa Auer set her up with a suite at a really swanky hotel to trap millionaire Louis Hayward. It works, but he's a friend of Fairbanks as well.
I think you can see the complications and if you're a fan of Thirties screwball comedy you know how this one will turn out.
Darrieux is fresh and appealing and who would't want to Douglas Fairbanks, Jr., and Louis Hayward chasing you albeit for different reasons. Broderick carries on with the gal pal's best friend part that later on Eve Arden would perfect.
The film itself was photographed though in that sometimes annoying sepia tint process. Sometimes that serves in good stead, the best example is Errol Flynn's The Sea Hawk when Flynn and his pirate crew are in the Panamanian jungle. In The Rage of Paris it starts out in sepia than switches to regular black and white and then back to sepia for no discernible reason.
Still though I think that even today's viewers will find the elegant world that Fairbanks and Hayward move in still quite appealing.
She got good notices for The Rage in Paris and deservedly so. She made the decision however to go back to her own country and got to spend four years with some uninvited guests. Who knows what direction her career would have taken had she stayed here.
Anyway, Danielle is pretty but broke, desperate for a job she grabs a ticket from an employment office for what she thinks is a modeling job and gets to Douglas Fairbanks, Jr.'s office and proceeds to take her clothes off. She beats a hasty retreat however when she realizes the big boo-boo she made with Fairbanks, somewhat amused.
Later on gal pal Helen Broderick and her friend head waiter Mischa Auer set her up with a suite at a really swanky hotel to trap millionaire Louis Hayward. It works, but he's a friend of Fairbanks as well.
I think you can see the complications and if you're a fan of Thirties screwball comedy you know how this one will turn out.
Darrieux is fresh and appealing and who would't want to Douglas Fairbanks, Jr., and Louis Hayward chasing you albeit for different reasons. Broderick carries on with the gal pal's best friend part that later on Eve Arden would perfect.
The film itself was photographed though in that sometimes annoying sepia tint process. Sometimes that serves in good stead, the best example is Errol Flynn's The Sea Hawk when Flynn and his pirate crew are in the Panamanian jungle. In The Rage of Paris it starts out in sepia than switches to regular black and white and then back to sepia for no discernible reason.
Still though I think that even today's viewers will find the elegant world that Fairbanks and Hayward move in still quite appealing.