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HISTORY

The Summary for this unviewed film is based on reviews in the 24 Dec 1921 editions of the Exhibitors Herald, Motion Picture News, and Motion Picture World, and in the Oct 1922 Motion Picture News Booking Guide, and Gladys Hall’s adaptation of the screen scenario that ran as a short story in the Oct 1921 Photoplay.
       A studio chart in the 16 Apr 1921 Camera noted that production was "starting" on The Lady and the Laurels, the working title of Fool's Paradise. Filming was in its eighth week in the 21 May 1921 Camera, and finished by early Jun, the 11 Jun 1921 Camera noted.
       Leading man Conrad Nagel told the Mar 1922 Motion Picture Magazine that the scene in which he rescued “Prince Talaat-Noi” from “alligators” was the most memorable for him. An ancient reptile named “Angie,” he said, “was the ringleader of the thirteen alligators.” Despite her age, “she’s as agile as ever, and we had to be alert to escape her maneuvers.” There is some confusion as to whether the reptiles were crocodiles or alligators, but crocodiles would be the correct species for Siam.
       Impresario Cecil B. DeMille’s trademark was spectacle, and the ludicrous plot of Fool's Paradise provided plenty of opportunities for Hollywood hyperbole and ballyhoo. According to a full two-page advertisement in the 17 Dec 1921 Motion Picture News, the film offered the “last word” in “drama” (“the poor blind youth thinks he is a famous poet, married to a famous dancer”); “thrills” (he jumps into “the ...

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The Summary for this unviewed film is based on reviews in the 24 Dec 1921 editions of the Exhibitors Herald, Motion Picture News, and Motion Picture World, and in the Oct 1922 Motion Picture News Booking Guide, and Gladys Hall’s adaptation of the screen scenario that ran as a short story in the Oct 1921 Photoplay.
       A studio chart in the 16 Apr 1921 Camera noted that production was "starting" on The Lady and the Laurels, the working title of Fool's Paradise. Filming was in its eighth week in the 21 May 1921 Camera, and finished by early Jun, the 11 Jun 1921 Camera noted.
       Leading man Conrad Nagel told the Mar 1922 Motion Picture Magazine that the scene in which he rescued “Prince Talaat-Noi” from “alligators” was the most memorable for him. An ancient reptile named “Angie,” he said, “was the ringleader of the thirteen alligators.” Despite her age, “she’s as agile as ever, and we had to be alert to escape her maneuvers.” There is some confusion as to whether the reptiles were crocodiles or alligators, but crocodiles would be the correct species for Siam.
       Impresario Cecil B. DeMille’s trademark was spectacle, and the ludicrous plot of Fool's Paradise provided plenty of opportunities for Hollywood hyperbole and ballyhoo. According to a full two-page advertisement in the 17 Dec 1921 Motion Picture News, the film offered the “last word” in “drama” (“the poor blind youth thinks he is a famous poet, married to a famous dancer”); “thrills” (he jumps into “the crocodile pit, swarming with fifty horrible, man-eating reptiles!”); "beauty" (“the marvelous ice-ballet, the snow-queen’s palace” of “Rosa Duchêne’s” stage show, as well as “the riotous temple dances of Siam”); “romance” (“a penniless youth in a Mexican oil town. A dancer with all Europe at her feet!”); “heart throbs” (“In malice and hatred she had ruined his life. Now in love and pity she would give him happiness.”); and “splendor” (“settings so massive, that you will be overawed by their stupendous grandeur”). There was some confusion
       A lengthy, 11,000-foot version of the film opened at the Criterion Theatre in New York City on 16 Dec 1921, on a program that included “an elaborate dance number,” three short film subjects, and a prologue titled “A Border Cantina,” which “reproduces the border atmosphere in the feature picture,” according to the 24 Dec 1921 Exhibitors Trade Review. When the film was generally released a couple of months later, its length had been trimmed to 8,681 feet.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Camera
16 Apr 1921
p. 11
Camera
21 May 1921
p. 11
Camera
11 Jun 1921
p. 11
Exhibitors Herald
24 Dec 1921
p. 141
Exhibitors Trade Review
24 Dec 1921
p. 252
Motion Picture Magazine
Mar 1922
p. 30, 31
Motion Picture News Booking Guide
Oxt 1922
p. 25
Motion Picture News
17 Dec 1921
---
Motion Picture News
24 Dec 1921
p. 123
Moving Picture World
24 Dec 1921
pp. 123, 982
Photoplay
Oct 1921
pp. 44-48, 110-112
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Jesse L. Lasky presents
a Cecil B. DeMille Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Cecil B. De Mille
Dir
Asst dir
PRODUCER
WRITERS
Scen
PHOTOGRAPHY
SOURCES
LITERARY
Based on the short story "Laurels and the Lady" by Leonard Merrick in his The Man Who Understood Women, and Other Stories (London, 1908).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Titles:
Laurels and the Lady
The Lady and the Laurels
Release Date:
19 March 1922
Premiere Information:
New York opening: 16 Dec 1921; General release 19 Mar 1922
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Famous Players-Lasky Corp.
23 December 1921
LP17420
Physical Properties:
Silent
Black and White
Length(in feet):
8,681
Length(in reels):
9
Country:
United States
Language:
English
SYNOPSIS

Arthur Phelps, an ex-service man who suffered an eye injury in the war, falls in love with Rosa Duchêne, a French dancer who visited the military hospital and gave him a kiss. Returning to El Paso, Texas, to work in the oil fields near the Mexican border, Arthur cannot get Rosa out of his mind. One day, a woman named Poll Patchouli comes to his shack, seeking refuge. She is the star dancer at John Rodríguez’s cantina on the Mexican side of town, but she tried to save a young girl from a white slaver who frequents the dancehall, and now Rodríguez has threatened to kill her for ruining his business. Although Arthur is unhappy that Poll has invaded his sanctuary, she refuses to leave because she fears for her safety. Seeing his photographs of Rosa Duchêne and the sonnets he writes to her, Poll is moved by the purity of his emotions, as they contrast to the loveless circumstances of her own life as a cantina dancer. Staying in Arthur’s shack, Poll gets a job as a saleslady at the cigar counter of a hotel on the American side of town. Arthur learns that Rosa Duchêne and her dance troupe are coming to El Paso. When he arrives at the theater, he has a chance to speak to the dancer backstage, and she vaguely remembers him from the military hospital. Out in the lobby, Poll gives Arthur an exploding cigar as a joke, hoping it will snap him out of his trance, but as he lights it, the small flash of powder temporarily blinds him. Later, at the hotel, he hears Poll mimicking Rosa’s voice, and believing her ...

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Arthur Phelps, an ex-service man who suffered an eye injury in the war, falls in love with Rosa Duchêne, a French dancer who visited the military hospital and gave him a kiss. Returning to El Paso, Texas, to work in the oil fields near the Mexican border, Arthur cannot get Rosa out of his mind. One day, a woman named Poll Patchouli comes to his shack, seeking refuge. She is the star dancer at John Rodríguez’s cantina on the Mexican side of town, but she tried to save a young girl from a white slaver who frequents the dancehall, and now Rodríguez has threatened to kill her for ruining his business. Although Arthur is unhappy that Poll has invaded his sanctuary, she refuses to leave because she fears for her safety. Seeing his photographs of Rosa Duchêne and the sonnets he writes to her, Poll is moved by the purity of his emotions, as they contrast to the loveless circumstances of her own life as a cantina dancer. Staying in Arthur’s shack, Poll gets a job as a saleslady at the cigar counter of a hotel on the American side of town. Arthur learns that Rosa Duchêne and her dance troupe are coming to El Paso. When he arrives at the theater, he has a chance to speak to the dancer backstage, and she vaguely remembers him from the military hospital. Out in the lobby, Poll gives Arthur an exploding cigar as a joke, hoping it will snap him out of his trance, but as he lights it, the small flash of powder temporarily blinds him. Later, at the hotel, he hears Poll mimicking Rosa’s voice, and believing her to be his beloved, he tells her about the accident. Poll begs him to marry her, and Arthur consents, believing she is Rosa. Their life together seems blissful now that she is part of his “fool’s paradise,” until she learns that a famous eye surgeon will be in town for a day. Out of guilt, she arranges for the doctor to restore Arthur’s sight, but it reveals her deception. Arthur leaves her in search of Rosa. At last he finds her living with Prince Talaat-Noi in Siam, where she has gone to study Oriental dance. During a sacrifice of a lamb to a pit of alligators, Rosa throws her glove into the pit, promising to take the man who retrieves it as her husband. The prince is almost killed by the reptiles, but Arthur saves him. Realizing that Rosa loves only herself, Arthur rejects her and returns to Poll, but finds her engaged to John Rodríguez and working again at the cantina. In a quarrel, Rodríguez injures Poll with his knife, and Arthur carries her to safety. Following her recovery, they get married.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.