Once upon a time, Betty Compson was the toast of the theater, her Dubarry filling the theater and attracting all the rakes. Her husband takes their son and flees. Decades have passed since then, and the booking agents are no longer interested in who she has become in the meantime, Edith Yorke.
When her son, Herbert Rawlinson comes to Paris, he knows nothing of his mother. However, he is much taken with the beautiful young Betty Compson, who lives in the same cheap theatrical boarding house as Miss Yorke. When Betty tries on the dress for the role of Dubarry, it fits her perfectly -- surprise! -- and she is indistinguishable from Miss Compson. So they hatch a plan: they will present Miss Compson as the same woman, only having undergone massive plastic surgery. The producers are fooled, the public is fooled, and the stage door Johnnies, now old and wearing immense mustaches, pay court to her.
In other words, it's the usual nonsensical plot and how do the youngsters get together, when people think Rawlison is dating his own mother. Well, Harry O. Hoyt directs ably, Miss Compson is beautiful, the guys playing old duffers, and Armand Kaliz, as the rake who wanted Miss Compson in their youth wants her again, for that necessary conflict. For a one-hour second feature, it moves at a good clip, and there is a lovely shot early on, when Rawlinson and Miss Compson meet in a misty, rainy Paris.
When her son, Herbert Rawlinson comes to Paris, he knows nothing of his mother. However, he is much taken with the beautiful young Betty Compson, who lives in the same cheap theatrical boarding house as Miss Yorke. When Betty tries on the dress for the role of Dubarry, it fits her perfectly -- surprise! -- and she is indistinguishable from Miss Compson. So they hatch a plan: they will present Miss Compson as the same woman, only having undergone massive plastic surgery. The producers are fooled, the public is fooled, and the stage door Johnnies, now old and wearing immense mustaches, pay court to her.
In other words, it's the usual nonsensical plot and how do the youngsters get together, when people think Rawlison is dating his own mother. Well, Harry O. Hoyt directs ably, Miss Compson is beautiful, the guys playing old duffers, and Armand Kaliz, as the rake who wanted Miss Compson in their youth wants her again, for that necessary conflict. For a one-hour second feature, it moves at a good clip, and there is a lovely shot early on, when Rawlinson and Miss Compson meet in a misty, rainy Paris.