French Cancan (1954)
Directed by Jean Renoir

Film Review

French cancan marks director Jean Renoir's spectacular return to French cinema, after a 15 year long absence, working mainly in the United States.  Comparing this film with his earlier works, the difference in cinematographic style is striking, and the Hollywood imprint is noticeably present.  Because of this, the film has a greater visual impact, but is somewhat lacking in emotional impact and content.  Compared with some of Renoir's earlier triumphs, French cancan appears very superficial and banal.  Can this film really be the work of the same man that brought us La règle du jeu?   The great director appears to have unwittingly imported the best and worst of American film-making techniques.

The script is entertaining, but a little lacklustre, the photography is vivid, colourful, but not particularly original.  Much of the comedy is forced, often descending into irritating farce, whilst the love entanglements are driven more by cliché and hyperbole than drama.  The overall impression is that of a watered-down version of a Hollywood musical of the period - probably very popular at the time, but with none of the true greatness and idiosyncratic charm that is so apparent in Renoir's other films.

Perhaps the most apparent thing about French cancan, and the most surprising, is that it should look so distinctly atypical of French cinema.  It appears more like an (above average) American film dubbed into French. Very strange for a film which celebrates one of France's most well-known institutions, includes a complete rendition of the French national anthem, stars France's most famous cinema actor, and has the word "French" in the title!   One can hardly help thinking that Jean Renoir has been away from his homeland a little too long.

That said, the film does have some successes.  The acting is generally good, with a particularly memorable performance from Jean Gabin as the theatre manager Danglard.  We are treated to (all too brief) cameos from the legendary French singers Patachou and Edith Piaf.  However, the film's main winning card is the superb finale, the first night at the Moulin Rouge - complete with Offenbach's cancan, black stockings, frilly underwear and high kicks.  Toulouse-Lautrec's garish paintings brought to life in a vivid spectacle of tasteful vulgarity.

Film Synopsis

Nini, a pretty laundry worker, is recruited by Monsieur Danglard, along with a number of other attractive young women, to join his theatre company.  Danglard plans to open a new cabaret venue, the Moulin Rouge in Paris, with live performances of the cancan being the star attraction.  Nini is seduced by Danglard, although she has a boyfriend, Paolo, and an admirer in the wealthy Prince Alexandre - both of whom become driven to distraction by Nini's apparent coldness towards them.  Danglard finally admits to Nini that their affair is not going to last long and that, in all probability, she will soon be replaced in his affections by an equally pretty woman.  Upset, Nini can hardly bear to perform on the Moulin Rouge's opening night.  However, the show must go on....