Charlie Chaplin (1951)

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cc m flections from the lighted windows of the unseen train pass over her and across the wall behind. Jean fails to get her on the phone. "A year later. Paris—the magic city, where fortune is fickle and a woman gambles with life." A cabaret. At the tables decadent types: an elderly woman with a gigolo, military officers, turbaned Orientals, European de- bauches. A grand entrance is made by Marie St. Clair. "Time brings many changes." And in a few short months life has made of her "a woman of Paris," the beautiful toy of Pierre Revel. The wealthiest man in the gayest city in the world, his whims have ruined many. He suavely bows to acquaintances. After descending the steps to their table Pierre bows to a man who returns the bow. Marie asks, "Who's that you bowed to?" Pierre replies, "The richest bachelor in Paris." An elderly woman is shown with a polished young man. "Who is that?"—"One of the richest old maids in Paris."—"Who's the man with her?"—Pierre merely smiles and raises his eyebrows. "Pierre makes a study of eating as he does of living." He enters the kitchen to pick a fowl and supervise the preparation of his order, the waiter standing in obsequi- ous attention. Back at his table the couple are first served champagne truffles ("a delicacy for pigs—and gentle- men"). The headwaiter pours the wine himself with fawn- ing smiles and brusquely gives orders to other waiters who compete for the privilege of the other services. "Marie's apartment early the next morning." Her friend Fifi enters, "young and vivacious, hungry for ex- citement." Fifi teases and kisses Marie who is still in bed. "Why, Marie, of all the lazy people." She flings open the window and tells Marie to get up—not to waste her life in bed. When asked what she is doing up so early, Fifi, taking off her coat, reveals an evening dress.