Customer Reviews

French Cancan [VHS]

5 star:		(4)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Lush, vibrant recreation of "belle epoque" Paris as showman Danglard (Jean Gabin) juggles lovers, creditors, and egos to create the Moulin Rouge and its main attraction: the can-can. The entire file is (by Eisenhower-era American standards) uncommonly sexy, and shuffles its musical numbers into the plot so subtly you forget you're watching(technically) a musical. The climactic nine-minute can-can is breathtaking. END

FRENCH CANCAN is arguably Renoir's best film in the 1950s (rivalled only by THE GOLDEN COACH and THE RIVER). It may well be the best filmization of that oft-filmed musical hall story, Moulin Rouge. It surely beats the hell out of John Huston's colourful but basically vacuous ..., or any other contender.

FRENCH CANCAN is a wonderful example of the kind of farcical frivolity that characterizes Renoir's work in the 50s. In a sense, the film struck me as a semi-sequel to the magical GOLDEN COACH, although CANCAN is much more intricate and restrained work. Both films are uniquely similar in that they never venture outside the theatre. Some critics have rudely charged the film for being too stagey and theatrical, but what the critics fail to see is that Renoir celebrates the theatricality of movies: He finds energy and vigour in the theatre functioning as a profound metaphor for life.

But what's so special about FRENCH CANCAN, aside from the exquisite colour, music, and dance numbers, is the way it understands that the wonderful world of the theatre is a result of hard and painful work. As the film proceeds, it leaves behind some hurtful feelings. Some of them are not reconciled. And Jean Gabin, in one of his greatest performances, is very adept at conveying these sombre feelings. Nonetheless, such feelings become thing of a past when the film reaches its spectacular finale, with the gusto of swirling cancan dancers.

FRENCH CANCAN is the most passionate and invigorating work of Renoir's late period. It is also my second favourite Renoir after THE RULES OF THE GAME.

FRENCH CANCAN is arguably Renoir's best film in the 1950s (rivalled only by THE GOLDEN COACH and THE RIVER). It may well be the best filmization of that oft-filmed musical hall story, Moulin Rouge. It surely beats the hell out of John Huston's colourful but basically vacuous 1952 MOULIN ROUGE or any other contender. FRENCH CANCAN is wonderful example of the kind of farcical frivolity that characterizes Renoir's work in the 50s. In a sense, the film struck me as a semi-sequel to the magical THE GOLDEN COACH, although FRENCH CANCAN is much more intricate and restrained work. But both films are uniquely similar in that they never venture outside the theatre. Some critics have rudely charged the film for being too stagy and theatrical, but what the critics fail to see is that Renoir celebrates the theatricality of movies: He finds energy and vigour in the theatre functioning as a profound metaphor for life.

But what's so special about FRENCH CANCAN, aside from the exquisite colour, music, and dance numbers, is the way it understands that the wonderful world of the theatre is a result of hard and painful work. As the film proceeds, it leaves behind some hurtful feelings. Some of them are not reconciled. And Jean Gabin, in one of his greatest performances, is very adept at conveying these sombre feelings. Nonetheless, such feelings become thing of a past when the film reaches its spectacular finale, with the gusto of swirling cancan dancers.

FRENCH CANCAN is the most passionate and invigorating work of Renoir's late period. It is also my second favourite Renoir after THE RULES OF THE GAME.

From the start, I blatantly refuse to compare this film to Huston's "Moulin Rouge" - these are two distinctly seperate works, and though their subject might be the same, it would be a disservice to the merits of both to place them on the same page. That having been said...

From the great storyline to the rip-roaring dance finale, this is one heck of a movie-musical. Far, far too obscure, at least in this country - I've told innumerable friends about it, always with the same result - they tell me they've never heard of it. Well, now that you have, it's very well worth your time to check it out.

Firstly, the character development is fantastic. Jean Gabin shines as the impresario Danglard, Francoise Arnould is wonderful as his ingenue/inspiration Nini, and Maria Felix is devastating as the diva, La Belle Abesse. As well, look for the glittering talents that surround - the peripheral characters are a delight to behold. And, of course, the great Edith Piaf makes a brief appearance, as well.

Another quality I love about this film is the relatively accurate depiction of 1890's Paris - the costumes, colors and attitudes are well captured. The truth of the "casting couch" is openly mentioned, and relationships between performers and impresario are depicted with often saddening accuracy. On a lighter note, the dances are captured beautifully, as well - throughout the film they shine, in rehearsal rooms, dingy bars, and, of course, in the aforementioned finale.

Overall, this is a most enjoyable film - and, unlike many "golden age" Hollywood musicals, it doesnt' shy away from the ugly truths of life in the theatre. Well worth a viewing - and very well worth purchase.

This is one of the most admirable and fresh films of any age. A true tour de force that invites us to enjoy and delight with the joy of living.
Renoir the son, paid a more than deserved to his father with this post card movie, plenty of smart situations with a wonderful Jean Gabin and the most beautiful woman in the world in those ages: Maria Felix.
The film is a glorious homage to Paris, depicting minuciously through every little frame every angle of this lovely city through anorigibal stage: since I got it in 1990, I have to watch it at least once every year. A colossal and superb artistic film that finds in Renoir the perfect director in the peak of his creative powers.
This is the artistic answer given by France to "An american in Paris", and John Huston's"Le Moulin Rouge".
Versatile imaginative, sumptuos and ravishing film