Best Films - 1923
by Andre Soares

I must admit that I’m not a fan of Charles Chaplin’s comedies. Heresies aside, I did very much enjoy Chaplin’s dramatic A Woman of Paris, an attempt to turn his frequent leading lady Edna Purviance into a star. The film was a box-office success (despite rumors to the contrary), but Purviance’s career never took off. That is unfortunate, as she gives a very moving performance in this tale of lost love and single motherhood. She is with Carl Miller in the photo. Things are obviously not going very well for the couple, but Purviance is surely suffering in style.
FILM
Cameo Kirby
Scaramouche
The White Rose
A Woman of Paris
DIRECTOR
Charles Chaplin (A Woman of Paris)
John Ford (Cameo Kirby)
Rupert Hughes (Souls for Sale)
Rex Ingram (Scaramouche)
ACTOR
John Gilbert (Cameo Kirby)
Ramon Novarro (Scaramouche)
ACTRESS
Renée Adorée (The Eternal Struggle)
Eleanor Boardman (Souls for Sale)
Mae Marsh (The White Rose)
Edna Purviance (A Woman of Paris)
Alice Terry (Scaramouche)
SUPPORTING ACTOR
Lon Chaney (The Hunchback of Notre Dame)
Lewis Stone (Scaramouche)
SUPPORTING ACTRESS
Nita Naldi (The Ten Commandments)
SCREENPLAY
Charles Chaplin (A Woman of Paris)
Willis Goldbeck (Scaramouche)
Robert N. Lee (Cameo Kirby)
CINEMATOGRAPHY
G.W. Bitzer, Hendrik Sartov & Harold S. Sintzenich (The White Rose)
Karl Brown (The Covered Wagon)
William H. Daniels, Charles E. Kaufman & Ben F. Reynolds (Merry-Go-Round)
George J. Folsey (The Fighting Blade)
Bert Glennon, Peverell Marley, Archie Stout & J.F. Westerberg (The Ten Commandments)
Tony Kornman & Robert Newhard (The Hunchback of Notre Dame)
George Schneiderman (Cameo Kirby)
John F. Seitz (Scaramouche)
Charles Van Enger (Salome)
"Best Films of …" Annual List
Comments
Leave a Reply
Note: All comments are moderated. Different views and opinions are welcome, but abusive/bigoted/flaming comments will NOT be approved. Also, please be aware that the Alternative Film Guide has NO contact information for the talent mentioned in this blog or any information pertaining to or access to distributors'/producers' film prints.
