.mw-parser-output .hidden-begin{box-sizing:border-box;width:100%;padding:5px;border:none;font-size:95%}.mw-parser-output .hidden-title{font-weight:bold;line-height:1.6;text-align:left}.mw-parser-output .hidden-content{text-align:left}You can help expand this article with text translated from the corresponding article in German. Click [show] for important translation instructions.
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A Chinese dancer in the nightclubs of Paris, becomes involved with a Russian painter and becomes his model. She is persecuted by a man named Coco, accused of theft. Later, in the French Riviera she is at last able to prove her innocence.
This is, after Song, the second[3] of various collaborations of Eichberg with Wong.[4]
Analysis
Analysing the evolution of the roles played by Wong in her career, Mayukh Sen wrote: "Her subsequent films with Eichberg broke her out of the typecasting that she’d faced in Hollywood. In 1929’s Pavement Butterfly, she played a Chinese dancer who, despite the title’s suggestion, was more of a self-possessed vamp than a passive wallflower."[5]
Kapczynski, Jennifer M.; Richardson, Michael D., eds. (2014) [2012]. A New History of German Cinema. New York: Boydell & Brewer. ISBN978-1-58046-854-1.