New York Times’ film critic Mordaunt Hall was beyond effusive in his review of Ernst Lubitsch’s 1926 comedy souffle SO THIS IS PARIS (’26) describing it as a “gay picture” which “hails from the workshop of that master director Ernst Lubitsch” and is doing its share to “uphold the screen art…’” He added that the “farce comedy is titivated with satire. It is a farcical yarn that keeps one amused from the start. The publication named the romantic roundelay starring Monte Blue, Patsy Ruth Miller, Lilyan Tashman and Andre Beranger, as one of the top ten films of the year.

Though several of Lubitsch’s silent Hollywood films have been released on DVD or aired on TCM, that hasn’t been the case with SO THIS IS PARIS, because the comedy didn’t have a score until now. The virtual TCM Classic Film Festival has the “Lubitsch Touch” Sunday evening with the world premiere of the new restoration of SO THIS IS PARIS, presented in a 2K scan off the Warner Bros. nitrate complete with a lively original organ score by and performed by Ben Model.

Over the years, TCM had licensed Model’s scores for silent films in the public domain he had initially done for home video including Baby Peggy’s THE FAMILY SECRET (‘24) and Marion Davies’ WHEN KNIGHTHOOD WAS IN FLOWER (‘22). One of the top accompanists and composers of silent film scores, Model had long wanted to work with TCM to commission new scores for their scoreless silent films in their library. After discussions with Charles Tabesh, TCM’s SVP for programming and content strategy, Model was able to score SO THIS IS PARIS.

“I knew SO THIS IS PARIS had been shown at the TCM Film Festival a few years prior,” said Model. “I knew this is a film that Warners’ controls. It’s a film I don’t have to convince anybody about… It’s already on everyone’s radar. I also knew that the Library of Congress had material on it.” And, it turned out TCM had scanned its print of the film. “They sent me a file and I scored the film.”

Surprisingly, Model doesn’t compose or play on an actual mighty Wurlitzer, he utilizes a virtual one using a computer program that “behaves like an actual organ console would.” Model watched the film once and took a lot of notes for himself: “story notes where I’m writing down what happens in the scene, what mood I think it would be. Sometimes I’ll write down this should be a minor waltz or something like that. I will also notate for myself in boldface visual cues. Not in a Mickey Mouse coconut sounds when somebody gets hit on the head kind of thing, but just so I can see it at a dramatic moment. “

There’s a scene in the beginning of the film where the one couple is rehearsing this Arabian dance and there is a man playing the piano. “We get a glimpse of the sheet music,” Model noted. “I thought just in case there are any musicians who are reading [the sheet music], I actually transcribed the first eight or nine ears of the ‘Dance of the Despair’ and it kind of works. “

He doesn’t write all the music out when he’s composing. “I improvise, although when I’m recording, it’s more like I improvise until it’s right. It’s a form of composition where I’m not physically writing notes on a piece of paper. But I still think of it as composition and not just making music until the scene is over. Improvisation was a technique that organists knew.”

He learned as a young man from the legendary silent film accompanist Lee Erwin that silent film music “should be interesting enough to hold you, but not pretty enough to distract you. The idea is because silent film is its own universe. I think the idea it to support the film and help the audience. Boost then up into the world and keep them in that world.” The biggest challenge scoring the film is the three minutes and 13 second Charleston party sequence “where nothing happens,” noted Model. “The film is forward motion and dramatic action then the movie stops. It’s just shots of a lot of people dancing. I didn’t just want to play until the scene was over. I wanted to try and map something out.”

So, Model watched the sequence, took down the timing and even created a spreadsheet “so I could figure out not only how many seconds each the segments are. I was able to break it down and discover the internal logical of the editing. I came up with a tempo which is a Charleston tempo or a tempo that the Charleston would be played it.” He chose not to include the famous Charleston music in the sequence because he thought it would be a distraction. “I chose to play music that was at the Charleston tempo so you could concentrate on what was being done on screen.”