- Published on
Sequel to The Cock-Eyed World (1929).
Screenland (March 1930)
Date of Release: Dec 22, 1929
Studio: Fox
Director: Raoul Walsh
Screenplay: Charles J. McGuirk, Raoul Walsh, William K. Wells
Composers: Walter Donaldson, Edgar Leslie
Leading Actors: Victor McLaglen, Fifi D’Orsay, El Brendel, Polly Moran, Lennox Pawle, August Tollaire, George Fawcett, Charles Judels, Edward Dillon, Rosita Marstini, Agostino Borgato, Yola d’Avril, Anita Murray, Dave Balles
What a relief Hot for Paris is a lost film. Described by the critics as “broad, vulgar” and a purely “male divertissement,” Hot for Paris was the sequel of the painfully sexist lackluster musical The Cock-Eyed World.
Director Raoul Walsh was once again working with lead Victor McLaglen, and Fifi D’Orsay was bought in as the token charming French girl.
In mid-October 1929 Motion Picture News reported that production on had been delayed until 1930. On December 7, however the same magazine printed a review. Production must have happened very quickly, though it is not clear why a delay was announced in the first place.
Theatre managers employed the usual array of gimmicks to attract pundits. At a couple of theatres, managers developed the trick of making steam rise from the Hot for Paris front of house sign which “unquestionably attracted a lot of attention,” and in one instance resulted in the fire brigade being called in. Another theatre displayed a cut-out of Fifi D’Orsay “in the act of taking off a stocking.”
At the Fox Japanese Garden in NYC, the theatre had a tie-in with a local restaurant, Fleischer’s, offering “a “'hot' meal” followed by the film. The meal was a “special blue plate dinner of boneless chicken pot pie and vegetables.”
Larger theatres also used live stage shows to flesh out the bill. At the Roxy in New York, a stage show ran in conjunction with the film that had an elaborate Moulin Rouge themed set with “gala signs [and] electrically studded windmill paddles.” The live show included Apache, Russian and Spanish dances and songs, the Roxy chorus, a ballet corps, and “32 Markert girls.” The show ran for over two hours, and led into Hot for Paris, which only ran for 71 minutes. Variety (January 1930) described the stage show as one of the best of its kind. The Academy Theatre brought in a “girl band that’s rated a draw.”
Studio: Fox
Director: Raoul Walsh
Screenplay: Charles J. McGuirk, Raoul Walsh, William K. Wells
Composers: Walter Donaldson, Edgar Leslie
Leading Actors: Victor McLaglen, Fifi D’Orsay, El Brendel, Polly Moran, Lennox Pawle, August Tollaire, George Fawcett, Charles Judels, Edward Dillon, Rosita Marstini, Agostino Borgato, Yola d’Avril, Anita Murray, Dave Balles
What a relief Hot for Paris is a lost film. Described by the critics as “broad, vulgar” and a purely “male divertissement,” Hot for Paris was the sequel of the painfully sexist lackluster musical The Cock-Eyed World.
Director Raoul Walsh was once again working with lead Victor McLaglen, and Fifi D’Orsay was bought in as the token charming French girl.
In mid-October 1929 Motion Picture News reported that production on had been delayed until 1930. On December 7, however the same magazine printed a review. Production must have happened very quickly, though it is not clear why a delay was announced in the first place.
Theatre managers employed the usual array of gimmicks to attract pundits. At a couple of theatres, managers developed the trick of making steam rise from the Hot for Paris front of house sign which “unquestionably attracted a lot of attention,” and in one instance resulted in the fire brigade being called in. Another theatre displayed a cut-out of Fifi D’Orsay “in the act of taking off a stocking.”
At the Fox Japanese Garden in NYC, the theatre had a tie-in with a local restaurant, Fleischer’s, offering “a “'hot' meal” followed by the film. The meal was a “special blue plate dinner of boneless chicken pot pie and vegetables.”
Larger theatres also used live stage shows to flesh out the bill. At the Roxy in New York, a stage show ran in conjunction with the film that had an elaborate Moulin Rouge themed set with “gala signs [and] electrically studded windmill paddles.” The live show included Apache, Russian and Spanish dances and songs, the Roxy chorus, a ballet corps, and “32 Markert girls.” The show ran for over two hours, and led into Hot for Paris, which only ran for 71 minutes. Variety (January 1930) described the stage show as one of the best of its kind. The Academy Theatre brought in a “girl band that’s rated a draw.”
The reviews for Hot for Paris were mixed. The Film Daily (Jan 5, 1929) described it as “Full strength entertainment, directed with a punch. Bound to click far and wide.” The National Board of Review Magazine (January 1930) enthusiastically described it as “A super-sophisticated comedy” and stated that “The skillful direction and clever acting save the picture from vulgarity.”
Meanwhile The Educational Screen (Feb 1930) called Hot for Paris a “Broad, vulgar sex-comedy which will entertain all who are not disturbed by the question of good taste,” and rating it as “Hardly” for “intelligent adults.” Various newspapers reviewed the dialogue as “stag,” “masculine,” “obvious” and “stale.” Some reviewers preferredThe Cock-Eyed World, while others felt Hot for Paris was the superior film.
Meanwhile The Educational Screen (Feb 1930) called Hot for Paris a “Broad, vulgar sex-comedy which will entertain all who are not disturbed by the question of good taste,” and rating it as “Hardly” for “intelligent adults.” Various newspapers reviewed the dialogue as “stag,” “masculine,” “obvious” and “stale.” Some reviewers preferredThe Cock-Eyed World, while others felt Hot for Paris was the superior film.
Fifi D'Orsay in Picture Play (March 1930)
Fifi D’Orsay received universally good reviews. Described as a French bombshell, Fifi d’Orsay was actually Canadian born. She started out as a dancer in vaudeville and went on to appear in over forty films, usually playing a “French flirt.”
The press hyped up her “Frenchness" and sex appeal. The Film Daily (Jan 5, 1930) gushed
Those eyes! Can she use ‘em? Oh, boy. And those beautiful centrifugal movements of the waist line. She dances. She sings. She makes ooh-la-la. She’s a wow. A pip. Go see her and then write your own adjectives. We’ve exhausted ours.”
Motion Picture (Feb 1930) described her as “vivacious, sparkling… She is naughty without being vulgar, a talent sorely needed by the screen.” Screenland (March 1930) wrote “Her antics are so disarming that even grandmother will content herself with a gentle “Tut-tut!” The French are a great people!”
Picture Play Magazine (March 1930) ran a full-page feature article on D’Orsay, “Fifi’s Magic Touch.” The article was all about “Miss Dorsay’s [sic] wordless language” and her alluring “vamping ways.” William H. McKegg makes no apology for his entendre laden article and gushing infatuation with D’Orsay – “She flashed onto the screen with a mop of black hair, rolling eyes, and shapely legs…From that moment every member of the audience – at least evert male member – declared the Dorsay to be the real thing.”
According to d'Orsay's obituary in the New York Times, she never actually managed to visit France in person.
Picture Play Magazine (March 1930) ran a full-page feature article on D’Orsay, “Fifi’s Magic Touch.” The article was all about “Miss Dorsay’s [sic] wordless language” and her alluring “vamping ways.” William H. McKegg makes no apology for his entendre laden article and gushing infatuation with D’Orsay – “She flashed onto the screen with a mop of black hair, rolling eyes, and shapely legs…From that moment every member of the audience – at least evert male member – declared the Dorsay to be the real thing.”
According to d'Orsay's obituary in the New York Times, she never actually managed to visit France in person.
Victor McLaglen in Picture Play Magazine (June 1930)
Victor McLaglen was also generally liked, though several critics mentioned is less-than-adequate singing voice. Born in England, McLaglen was a real-life soldier who, according to his IMDb bio started out as a prizefighter, touring the vaudeville and circus circuits. He went on to become a popular action movie star, and was twice nominated for Best Actor Academy Award (once each for Best Leading Actor and Best Supporting Actor). He won Best Lead for The Informer in 1936. He appeared in over 100 films during a film career that spanned over forty years.
The rest of the cast failed to receive much mention. For the most part, the cast were silent film actors whose careers faded in the 1930s as their accents were not deemed suitable for talkies.
Hot for Paris contained just three songs. Variety was the only trade magazine to mention the music, stating that none of the songs were outstanding, and “Too light to be taken into serious consideration.” The score was written by Walter Donaldson and Edgar Leslie, both of whom went on to prominent careers.
Walter Donaldson was born into a musical family and worked in Tin Pan Alley. He went on to become a successful composer who worked for over thirty years. His hit songs include “How ‘Ya Gonna Keep ‘Em Down on the Farm (After They’ve Seen Paree),” “My Mammy,” “Carolina in the Morning,” My Blue Heaven,” and “Makin’ Whoopee”. His music was performed by Nina Simone, Dinah Washington, Al Jolson, Mel Torme and many more.
Edgar Leslie was a prolific composer who started out writing for vaudeville acts. His songs include “Lonesome,” “For Me and My Gal,” “Oh What a Pal was Mary,” “Is There Still Room for Me ‘Neath the Old Apple Tree.” Leslie was inducted into the Songwriters Hall of Fame in 1972.
The rest of the cast failed to receive much mention. For the most part, the cast were silent film actors whose careers faded in the 1930s as their accents were not deemed suitable for talkies.
Hot for Paris contained just three songs. Variety was the only trade magazine to mention the music, stating that none of the songs were outstanding, and “Too light to be taken into serious consideration.” The score was written by Walter Donaldson and Edgar Leslie, both of whom went on to prominent careers.
Walter Donaldson was born into a musical family and worked in Tin Pan Alley. He went on to become a successful composer who worked for over thirty years. His hit songs include “How ‘Ya Gonna Keep ‘Em Down on the Farm (After They’ve Seen Paree),” “My Mammy,” “Carolina in the Morning,” My Blue Heaven,” and “Makin’ Whoopee”. His music was performed by Nina Simone, Dinah Washington, Al Jolson, Mel Torme and many more.
Edgar Leslie was a prolific composer who started out writing for vaudeville acts. His songs include “Lonesome,” “For Me and My Gal,” “Oh What a Pal was Mary,” “Is There Still Room for Me ‘Neath the Old Apple Tree.” Leslie was inducted into the Songwriters Hall of Fame in 1972.
Victor McLaglen, Fifi D’Orsay, and El Brendel in Motion Picture (Feb 1930)
Despite the mixed reviews, audiences flocked to see the film. Hot for Paris played in sold out houses around the country, and in some cities grossed even higher than The Cock-Eyed World which had been one of the top 10 grossing films of 1929.
A French language version was released in Montreal.
A French language version was released in Montreal.
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