After having produced and co-directed three feature length dramas in which she played the leading roles of more or less adventurous women, Musidora chose the comic mode for what turned out to be the final production of her company. Intended as a mixed stage and screen performance, it can be considered a self-ironic settlement with a film world, press and audience, which overlooked her aspirations as a filmmaker and which wished to confine her to dramatic parts highlighting her photogenic qualities. What makes this production particularly worthwhile, is that there is no bitterness in its tone. Instead, it offers a smart, at times sincere and always humorous contemplation on issues which Musidora had given serious consideration theretofore, such as filmmaking, star images, male and female bravery and romantic love. For instance, she presents herself as a filmmaker vain enough to believe that the actor of her choice, a bull fighter, would be pleased to act in her film. She also appears as the most ugly and clumsy would-be film actress, clearly taking great pleasure in acting the opposite of her photogenic star image. Her act of bravery consists of pulling a bull’s tail, with which she ridicules not only female heroism but also the alleged courage of the bull fighter whom she saves from the ferocious animal’s horns. And the romanticism of falling in love is spoofed by presenting it as a chase by the man for the woman. A more gracious farewell to a unique career as a celebrated star and a hardly accredited woman filmmaker in the French silent cinema no one else has bid.