Another part of the reason this movie is so good is that every shot is a masterpiece of motion-photography. The city is captured gorgeously and hugely, and the cuts move with breathtaking swiftness, intercutting grand vistas, with close-ups of hectic action and mundane life, sometimes dischordantly, sometimes with mellifluousness. When the movie ends, we feel confident that we've experienced a day in 1927 Berlin, and we are convinced that movies can successfully balance abstract art, documentary, and narrative.
A score by Edward Meisel was originally written for the movie, though it is often shown silently or with alternate scores. The title translates as "Berlin: Symphony of a Major City".
Besides Bow's performance, the crisp photography captures several diverting sets and locations that keep the movie flowing. We start in a department store, go out for an evening to the Ritz, visit Coney Island, and finally end with a boat cruise. Bow's charm may have been able to find a more suitable vehicle to stand the test of time, but she will always be the first official bombshell of movies, the woman whose ability to dominate the screen paved the way for countless other female actors.