Nanà

I really looked forward to seeing Nana after seeing Renoir amazing debut work, Whirlpool of Fate. I had read that Nana was generally considered his best silent film so I had high hopes. Sadly this felt like a huge step backwards.

Catherine Hessling is the main problem with this film. Her acting is over the top, even for a silent film. Her acting is more like what one would expect in a film from the early teens, not the late 20s. She usually has the same face, which reminds me (sorry to say) of someone with constipation pains. It was also very difficult to believe that any man would fall for this femme fatale. There was nothing charming about her at all.

The film was also quite long drawn, the camera work was uninteresting (aside from a shot of a horse race) and the editing was dull. The story reminded me of Pabst's Pandora's Box. It is interesting to compare the two because there are only 3 years between these films. Pandora's Box simply scores on every level where Nana fails.

This film is only for Renoir completists or very serious silent films buffs.

Having discovered and enjoyed Jean Renoir's first film LA FILLE DE L'EAU/WHIRLPOOL OF FATE (1925), I was looking forward to his second feature, NANA (1926) as it was based on a classic work by Emile Zola. Being a silent film enthusiast, I wanted to like NANA very much but while parts of it have merit, the bulk of it is overlong and overblown. Most of the blame must go to Renoir for letting the success of his first film go to his head. From the natural simplicity and directness of L'EAU, he does a 180 and gives us an extravagant costume drama full of large scale sets and florid performances.

An inordinate amount of criticism has been leveled at Catherine Hessling's title character and while her performance is overripe, she is simply doing what the director told her to. She was not really an actress but a model who was also Renoir's wife at the time. She acquitted herself quite well as a naive waif in their first film together but here she resembles Susan Alexander in CITIZEN KANE who is trapped in something out of her depth. To be fair, the other performers also indulge in the stereotype of exaggerated silent film acting but just aren't on screen as much.

NANA was a French-German co-production which accounts for the presence of the two Weimar Cinema icons, Werner Krauss and Valeska Gert. It also helps to explain the acting style that permeates the film as a whole essentially ruining it for those who aren't familiar with it. In fact if Renoir's name hadn't been on it, I would have assumed that this was a German movie all the way. It could almost be viewed as a French parody of German Expressionism but that was not Renoir's intention. Still for the film student and/or lover of silent movies, there is much to enjoy.

As befits the story of a chorus girl who wants to be an actress and then becomes a "kept woman", the settings are quite lavish going from a Moulin Rouge style cabaret (complete with a Can-Can number) to a theater where Nana flops as a serious actress to a lavish grand hotel where she is situated by her aristocratic lover (Krauss). To match these settings there are numerous remarkable costumes which only get more elaborate as the film progresses. The massive sets were designed by future director Claude Autant-Lara who also appears in the role of Werner Krauss' wife's admirer.

In the end NANA proved to be a costly flop that ruined Catherine Hessling's chances as an actress and forced Renoir to sell some of his father's paintings to help recoup some of the costs. Years later in his autobiography he called it "a mad undertaking". Fortunately Renoir learned from it and went on to a have a celebrated career. The movie was first released on DVD in 2007 on a Lionsgate/Studio Canal as part of a 3 disc set. Now Kino Lorber has just released it on Blu-Ray with music by Antonio Coppola, a restoration comparison and audio commentary. Worth seeing for fans of Renoir and silent movies...For more reviews visit The Capsule Critic.

The premise of Emile Zola's magnificent cycle of novels 'Les Rougon-Macquart' is that we are what we are through a combination of genetics and environment and that bad social conditions are apt to bring hereditary vices to the surface.

We are first introduced to Nana as a girl in book seven of the series 'L'Assommoir', in which her blood has been spoiled by a long heredity of misery and drunkenness and where she is already on the path to being a cocotte. She appears again as the title character of book nine and here the process is complete. Having failed miserably as an actress she decides to make her fortune by employing her talents in the boudoir. Her life as a courtesan can be viewed either as a symbol of Second Empire corruption or as a means by which she can gain revenge for her deprived childhood.

Jean Renoir's version represents his most challenging film of the silent era and he comes through with flying colours. The elements we have come to expect from this director are all here in terms of theatricality, tragi-comedy, relations between the upper and lower classes and of course excellent characterisations. Visually there is the painterly influence of his father Auguste. He has certainly got his money's worth here as future director Claude Autant-Lara is not only credited as set and costume designer but also plays the role of Fauchery whilst Pierre Lestringuez has adapted the novel as well as playing Bordenave. Memorable sequences are the Grand Prix races, Nana dancing the Can-Can in the Bal Mabille and not least the disturbing scene where Nana's maid and hairdresser witness her ridiculing and degrading her three high society lovers one by one.

Renoir has chosen to concentrate mainly on the trio of Nana and Counts Muffat and Vandeuvres. Muffat, whose obsession with Nana brings only disgrace and despair, is played by the brilliant Werner Krauss. He became one of Germany's most respected and honoured actors despite his closeness to Hitler's regime and his virulent anti-Semitism. His mesmerising performance epitomises aristocratic arrogance and disdain which makes his character's fall from grace even more pitiful. As Vandeuvres we have Jean Angelo, an actor of great presence and sensitivity whose character pays the ultimate price for his 'amour fou'. As Nana, Renoir has cast his then wife Catherine Hessling whom he met when she was modelling for his father. Her portrayal has been described as 'idiosyncratic'. Physically she is a far cry from Zola's imagining but she has captured Nana's innate vulgarity and there is no mistaking that her character has, in Zola's own words, "grown from the Parisian pavement."

Beautifully restored with some gorgeous tints, the film has retained a little of Maurice Jaubert's original score and an imaginative, newly composed score has been provided by Marc-Olivier Dupin for a fourteen piece ensemble.

Despite the film's success it could never recoup its massive budget and Renoir himself lost the money he had put in through the fault of the distributors. Not far short of a century later it remains the work of a master and as Renoir himself has said "It is the only one of my silent films that is worth talking about."

NANA is a dramatic love story by Renoir, one of the few directors that understood all aspects of cinematography. For me, these early mutes are the reason why cinematography is also an art form. Much more then the money driven "products" that came out the last years (spending millions on 1 film, but not including a story?). NANA only strengthened that opinion. It's certainly not the best film from the thirties I've seen. I find some scenes too long for that, but it's still very good. The sets are inside the hotel and house are amazing, the plot is strong. The actor that played Muffat is the best I've seen from that generation of films. I'm not really a fan of films that have a dramatic love story as a starting-point, I find it quickly too slow, but that's just really un-PC from me. ;) 6.5/10

There is a specular quality to Nana that would appear to have some bearing on later Renoir films (Regle and M. Lange come to mind)... however, the affectations of the performances are so tremendously overwrought that each character becomes caricature. The plot plays out like a Punch and Judy show (in this reviewer's opinion) and I will be the first to admit that I would surely benefit from being more familiar with its literary roots in Zola (Nana that is to say... and not Punch and Judy!). The affectations also render the very milieu a grotesque, disdainful stage. Perhaps this was Renoir's intention. Perhaps Renoir was fighting against his better judgment to adapt literary sources prior to knowing the path of his own stylistic system and development. Nana has ample opportunities to employ Renoir's signature stylistic model, however, he refuses to liberate the camera or utilize deep staging for his multiple protagonists. Instead, we are left with theater-like tableau shots. The tableau and caricature make one wonder about how apt the blanketing of "naturalism" works as an operational descriptor across Renoir's oeuvre. But the coup de grace comes with the use of studio sets for exteriors during some of the scenes at the horse races. Much is left to desire and Renoir overemphasizes his ability to over-determine every aspect of the production. Again there is a near-death hallucination impressionist sequence at the end (like La Fille de L'Eau)... is Renoir prognosticating about the death of something in the cinematic medium itself? His next film would be an ironic compliment to the Jazz Singer.