Slow pace in the most part of the movie.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

One of the worst ways to make a cult movie is to set out to make a cult movie.

"Just imagine the whole place being upset by one little Chinese girl in the scullery."Pretty easy to imagine, actually, the Chinese girl being Anna May Wong.But this would be a powerful, sad, beautiful film even without her. Superbly directed by E.A. Dupont, a sort of forgotten master of German Expressionism, with swish pans revealing the relationships between characters, tracking shots inviting the viewer into other worlds, low angles revealing significance of event and character. And some shots just plain beautiful.Much nuance here--this film only gets deeper on multiple viewings.And perhaps one of the most erotic scenes in cinema--mostly with a hand--AMW's hand of course.Gender identity buffs take note of Jimmy.The composer's commentary track is insightful, but as for the music: hit the mute button and put on Satie instead. Really. Satie will reveal much that's otherwise not revealed by the visuals.And without going on too much about it, but: Anna May Wong.

This is the kind of film that would have made a great early sound movie. If you get the DVD release, you may be somewhat put off by the score - I know I was. There are two major musical numbers in the film, and it would have really accentuated them to have the music of the times in the film rather than the modern score that just doesn't seem to fit. Unfortunately, British films didn't convert to sound until 1930, so this film remains as a "silent musical".It's a very good film that is basically about how life goes on, and today's celebrities and scandals are quickly forgotten tomorrow. It also shows the flimsy basis in many cases for being considered talented. The female headliner of the night club is basically there because she is the owner's girlfriend and is being carried to a large degree by her dance partner. When he decides to leave England and try to make it on Broadway, the owner knows the score and seeks a novelty to fill in what he has lost. He sees Anna May Wong's character dancing in the night club scullery and fires her for it, but later he realizes that maybe an exotic act is what he needs to draw an audience. He rehires her as a dancer. He is captivated by both the girl and her act, and at this point the film takes a sharp turn and becomes a bit of a crime drama and mystery.Anna May Wong is probably the only performer most American audiences will recognize with one fleeting exception. At the beginning of the film there is a heavyset customer of the nightclub who is complaining about a dirty dish. That complaining customer is Charles Laughton in a very small and very early role.

In London, Mabel Greenfield (Gilda Gray) and her partner Victor Smiles (Cyrill Ritchard) are the lead attractions of the Piccadilly Club with their show of dance, bringing the high-society to watch them dancing and have dinner. Victor is in love with Mabel but she has an affair with the owner of the club Valentine Wilmot (Jameson Thomas). When a client irritated with a dirty plate disturbs the show, Valentine investigates the restaurant and the kitchen, and he finally ends in the scullery where he sees the Chinese dishwasher Shosho (Anna May Wong) dancing on a table and the other employees watching her instead of working. Valentine fires Shosho first and then he fires Victor. However, Mabel alone is incapable to hold the clients and Valentine invites the exotic Shosho to dance in Piccadilly Club. She is acclaimed by the audience and has favorable reviews and sooner she catches Valentine; the envious and jealous Mabel decides to pay a visit to Shosho to tell her that she is in love with Valentine, and a tragedy happens."Piccadilly" is a great silent romance, with a complex screenplay that discloses sexual tension among several characters ending in a tragedy. The story has a scene of racism, when a Caucasian stops the dance of a Caucasian woman with a black man and is moralist in many aspects; but is also suspenseful and not totally dated. The introduction using billboards on the double-decker buses with the presentation of the cast is original. The faces of Gilda Gray and Theresa Russell have slight resemblances. My vote is eight.Title (Brazil): "Piccadilly"

As a way of telling a story, Piccadilly is an eye-opener. E.A. Dupont's camera, lighting, and tracking shots seem brand new for their time. Every scene thoughtfully composed, using foreground furniture or beaded curtains or half-shadow light to discreetly dramatize the "naughtiness" of its theme. The film is silent (with a haunting, jazzy score) made in 1929, 2 years after the birth of sound, but the restoration of this film is beautifully and carefully rendered. The acting, by "silent" standards, is subtly displayed and truthfully acted. Anna Mae Wong is certainly sexy. There is a kissing scene which occurs underneath a newspaper that leaves much to the imagination.For me it was a wonderful discovery (on TCM).