French Cancan [DVD + Blu-ray]

This is a review of the 2011 Region B2 Dual Format edition from BFI. It comes with masses of interesting extras and a fascinating booklet. This 1955 film appears in its original 1.33:1 format, and mono 2.0 sound, but it has been digitally restored from the original 35 mm negative by production company Gaumont, and the Blu-ray carries an HD version in 1080p. The English subtitles are very full but slightly stilted ~ it is unclear whether they were translated by Gaumont, or BFI.The picture (nicely clean and clear) is worth commenting on, in detail. ‘Cancan’ was filmed entirely on majestic studio sets, in the last months of 1954. It was an early use of colour too, by director Jean Renoir, and he employs Technicolor, to astoundingly vibrant, eye-catching, effect. The district of Montmartre, then (the 1890s) not especially citified, is beautifully soft and pastel, with pretty low-key buildings and picturesque stone steps. Upmarket interiors are bright and exuberantly colourful. The hats, the dresses, flags dressing the Moulin Rouge’s interior, and the Moulin Rouge itself, are all vividly coloured, whilst the layer upon layer of frilly petticoats, worn by the Cancan dancers, are pristinely white and beribboned.This is visually, a symphony of colour, frills and lace, ribbons and feathers. The costume designs by Rosine Delamare, are fabulous, and the sets, very large and complex, are similarly magnificent. It is difficult to believe this was not filmed out on location, at any point. Though I am unqualified to comment, the look apparently owes much to the paintings of those French Impressionists whose era this was ~ Renoir’s father, Auguste; also Utrillo and Degas. Renoir was brought up in Montmartre as a child, so this was familiar territory for him.A close second to the look, is the music. This is a film about the (re)birth of the Cancan, and it is largely set in the cafés and theatres of Belle Époque Paris. Music is crucial, and Renoir uses lots of it, of all kinds, and very good it is. There is even a brief cameo, singing in a theatrical performance, by Edith Piaf. There are songs, dance numbers of all types, and show music. It is all very French.The dancing is also excellent, both by ‘members of the public’ at dances, and in theatrical shows. And that is before the Cancan is finally performed, in all its boisterous and energetic athleticism. Director Renoir controls these large, potentially confusing, scenes, with a masterly hand.There is also, last but by no means least, a plot. It is funny, occasionally slightly ribald, often touching, and extremely French. His brilliant cast give it their all. Apparently, Renoir was a very supportive man to work with. He never goaded, chided or harassed his actors, and it was therefore a calm, productive environment in which to work. Even lead star, Jean Gabin, who had worked with Renoir in the ‘30s, and was slightly angry over Renoir’s having taken US citizenship whilst there in the War, soon came around, and the results speak for themselves.This is 104 minutes of music, laughter, tears, and lots and lots of petticoats. And it is 104 minutes of non-stop, colourful, 5 Star, fun.

Jean Renoir’s 1954 homage to Parisian music hall and his own Montmartre upbringing – the film is based on the life-story of the founder of the Moulin Rouge, Charles Zidler – French Cancan is a spectacular musical comedy, shot through with the artistic influence of French Impressionism (including that of the director’s father, Pierre-Auguste), laced with the film-maker’s eye for intriguing character detail and conveying an inescapable feeling of great affection for the subject matter. The film marked the return of Renoir to France and its exuberant mood is a (perhaps surprising) post-war reflection and celebration of a key (artistically formative) period in both the life of the country and of the film-maker himself.Superficially, French Cancan, with its relatively conventional 'rags-to-riches’, romantic central premise, can be likened the great Hollywood musicals of the same period (Vincente Minnelli, Stanley Donen, etc), but Renoir’s trademark (essentially French risqué-satirical) stamp is unmistakeable, adding other dimensions to the film. So, as Françoise Arnoul’s laundress with a talent for dance, Nini, is torn between a trio of 'amants’, Franco Pastorino’s jealous baker, Paulo, Jean Gabin’s veteran, washed-up theatre impresario and mentor (an autobiographical reference to Renoir himself?), Henri Danglard, and Giani Esposito’s wealthy Prince Alexandre, Renoir tempers the romance with (admittedly, for him, fairly mild) satire – poking fun at the aristocracy and capitalism (as Danglard succumbs to the will of his creditors) – and liberal sexual content that would have certainly attracted the red pen of the Hays Code (indeed, the US version of the film had 20 minutes cut!). Gabin, a true cinematic great in my book, is quite restrained here (in a less substantial role than that of the previous year’s Touchez Pas Au Grisbi), however, Renoir excels in the supporting casting (and writing). Maria Félix is superb as the glamorous, feisty mistress to Henri (and others), whilst great comic support is provided by Jacques Jouanneau and Jean-Marc Tennberg as the 'social commentators’ (and petty thieves) Bidon and Savate, and Philippe Clay also impresses, with his song-and-dance interludes, as Casimir le Serpentin. Édith Piaf is also unmistakeable (voice-wise certainly) in her cameo as Eugénie Buffet.Renoir’s characterisations here are thus never less than fascinating, but the film also scores top marks for its visual appeal (enhanced brilliantly on the BFI dual format disk restoration). The ensemble scenes are superbly done, both in the Montmartre (studio set) sequences and (particularly) during the extensive dance numbers – a highlight being the climactic sequence, which features the show-girls ‘doing the splits’ (eliciting a reaction of both amazement and wincing). There is also a delightful shot of Henri, latterly, celebrating the true love of his life (his trade) by attempting a 'high kick’. For me, French Cancan does not reach the heights of other great 'theatre film’ creations such as Les Enfants du Paradis or The Red Shoes, nor indeed match the great pre-WW2 Renoir films, but nevertheless still provides much to admire from one of cinema’s greatest film-makers.

Apparently just a divertissment, is a sparkling homage to an old disappeared world, with vibrant colors (the Blu ray transfer is amazing) and a fantastic directing quality,that of staging scenes that are apparently just simple long and wide shot but include so many things going on at the same time within the frame, like paintings to explore and with curiosity to spot all the characters and details they are made of, just to see the "human comedy" taking place. Renoir is maybe the best at doing it, only equalled by Altman in such a complexity of mis-en-scene.And this increases the sense of an old world coming back to life for a moment, like living tableaux.Irony, desenchantement, a deep look at social and human dynamics, drama and musical, make this film a sort of lighthearted comedy that looks almost an american classic, although it is totally and joyfully french.

Generally it's a good film. It was before the French new wave. It is full of Hollywoodeque cliques. If you are hoping for a film that is typically French, you are going to be disappointed.

This is not quite the Jean Renoir classic I was hoping it to be, having seen it as a boy, fifty years ago. On the positive side, Françoise Arnoul and Maria Felix are delightful.It could have done with a bit more action and drama away from the music hall. Jean Gabin was probablytoo old for the part - and he hardly moved. Supporting players are mostly tiresome other than the two girl leads. The best I can say about French CanCan is that it is often beautiful to look at. The closingsequence is wonderfully staged, but too long.