French Can Can

Acknowledgments to Cole Porter from whose lyric CanCan (the title song of his 1953 Broadway show of the same name) I take my one line summary. This is, purely and simply, a Valentine to Paris, the Belle Epoque, the Impressionists, you-name-it. As such it is both stunning and sumptuous.Gabin - who began in the French Music Halls - is superb, but then when isn't he, Arnoul is a revelation. More? Well, the photography is ... the music is ... the ambience is ... aw, what the hell, go see it, do yourself a great big favor. 9/10

"French Cancan" is one of my favorite all time movies. It's an excellent film. There's color, there's humor, there's music. It's a very good portrait of the so called Belle Époque, though Jean Renoir's priorities were always to show a creation, a fantasie. So the film isn't a historical movie. The final sequences in which the girls dance cancan are unforgettable images. It's a film you shouldn't miss.

Of the several Jean Renoir films I have seen, this was by far the most interesting.

This film was obviously the inspiration for the Baz Luhrman film Moulin Rouge. Luhrman even appropriated one of the original songs for use in his film.

The film tells the story of the construction of the Moulin Rouge for the presentation of a revival of the CanCan. Although characterization is a bit weak and most characters are little more than stereotypes, the plot, music, action, and spectacular visuals more than make up for the shortcomings.

This is a loving tribute to the Paris of the impressionist period and is filmed beautifully in color.

Does anyone know if there is any truth to the tale?

This is my favorite Renoir from the Fifties. It's the story of how Henri Danglard built and launched the Moulin Rouge nightclub; we see the workmen blasting at the site to get construction underway, and the training of the dancers. Finally, the giddiness of opening night and the long sequence of cancan dancing. Financial problems and the ego displays of the performers are described.

Gabin is in great form as the easy-going Danglard--see him deal humorously with Nini's violent boyfriend. Gianni Esposito is moving as the wistful Prince who is courting Nini. Maria Felix, with that amazon's body, is imposing as the egotistical Lola, Danglard's first lover. Finally Françoise Arnoul as Nini the washing girl who ends up dancing for Danglard, and becoming his girl, is just stunning; her loveliness and pert charm will win you over.

A bonus: we get Edith Piaf, Patachou, André Claveau and other stars in cameos playing the stars of a century ago who ruled over the Moulin rouge.

I would give this evocation of the early Moulin Rouge a high rating for the final fifteen minutes alone, a dazzling recreation of what might have been the riotous presentation of the French Cancan during the Belle Epoque, all color and noise and organized mayhem.

This is an old-fashioned film about a theatrical entrepreneur who turns working girls into stars--one at a time. Likable roué Jean Gabin plays Danglar with great aplomb, and having worked in the theatre myself, recognize the fine backstage moment in the film where the creator does not hurry to see his final creation; it is a quiet, subtle moment, and like much in the film, can be lost in the build-up to the opening of France's most famous dance hall; the color is mint Technicolor, the acting spot on, and, while old-fashioned, the film is a lovely evocation of an imagined past.