THE LATEST FROM PARIS
Produced and Distributed by Metro-Goldwyn-Mayer
Released: February 4, 1928
Featured cast: Norma Shearer, Ralph Forbes, William Bakewell
Producer: Bernard Hyman
Director: Sam Wood
Screenwriters: A.P. Younger; Joe Farnham (titles)
Cinematographer: William Daniels
The rivalry between a traveling saleswoman and a sales executive changes into romance.
“Sam Wood will direct Norma Shearer in her next starring picture, the first since her marriage. It will present Miss Shearer in the role of a traveling saleswoman. No title has been selected for the story, an original by A.P. Younger.”
- “Wood to Direct Shearer,” The Film Daily, October 18, 1927
“A title like The Latest from Paris leads one to expect an adventure concerned chiefly with diaphanous periphery. This new Capitol presentation is nothing of the sort, for it is a sketchy idea of a romance between Ann Dolan and Joe Adams, both commercial travelers. Norma Shearer does her best to make her part interesting, and Ralph Forbes, efficient actor though he is, obviously cannot fathom the weird character allotted to him."
- Mordaunt Hall, The New York Times, February 27, 1928
LETTERS FROM REGIONAL THEATER OWNERS
“Book this, and step on it! It’s great! Norma’s best in some time. Advertise big, because it will hold all you can give it.
- C.W. Docter, May Theatre, Mayville, Wisconsin, Exhibitors Herald and Moving Picture World, May 12, 1928
“A picture with one hundred percent entertainment value for young and old—and a picture with the poorest title they could have hung on it. The title has very little connection with the picture, and people are sick and tired of Gentleman from Paris, Parisian Love, and the thousand other pictures that have Parisian titles hung on them. Why should they try to kill a fine Norma Shearer picture with a bum title?”
- P.G. Vaughn, Sun Theatre, Kansas City, Missouri, Exhibitors Herald and Moving Picture World, May 12, 1928
The Latest from Paris cost $254,000 and grossed $582,000.
(These figures have not been adjusted for inflation nor do they include profits from reissues, television syndication, and home entertainment formats.)