Jon Mirsalis on Piano Paramount Studios in the twenties reveled in high-society comedies of manners, with arch titlecards and slick visuals. Changing Husbands would be a completely typical example, except for the great Raymond Griffith as support. Griffith was generally an aristocrat or Broadway Johnnie-as he is here-but under the tuxedo was an extraordinary physical comedian, both athletic and subtle, in spirit somewhere between Keaton and Lloyd. In the foreground of Changing Husbands is Leatrice Joy, twice, as a pair of women who just happen to look identical-the upper-class "Aesthetic Souls Club" dabbler with ambitions to the professional stage, and the Broadway actress yearning only for "peace and quiet." The title hints at the outcome of this risqué revision of The Prince and the Pauper. To set the tone for Changing Husbands and the silent-era battles of the sexes to come this week is a remarkable 1911 one-reel French production Taming of a Shrew. Silent Shakespeare is inherently ludicrous, but this unknown film is sophisticated for its year (and a huge leap beyond D.W. Griffith's knockabout Taming of the Shrew of 1908). Long lost in any form, this American release version was rediscovered in 1978 in the Yukon permafrost of Dawson City, Canada. Scott Simmon