Cancan (film, 1955)

French-cancan is a Film French carried out by Jean Renoir in 1955.

Synopsis

Danglard is the director of a theater with Montmartre, the Chinese Folding screen, whose its mistress, a named actress the Beautiful Abbess, is the high-speed motorboat. To attract customers of middle-class man, it decides to start again a last dance of mode, the Cancan, and to make build a new establishment, the Moulin-Rouge.
Nini, a small washing machine will become the new star, grace in particular, with the feelings of prince Alexandre.

Data sheet

  • Realizer: Jean Renoir
  • Production: Free London Films/Directing Jolly Films
  • of production: Louis Wipf
  • Scenario: Jean Renoir on an idea of Andre-Paul Antoine
  • Music: Editions Méridian
  • Song: the Lament of the
    music hillock     of Georges Van Parys and words of Jean Renoir
    interprétée by Cora Vaucaire
  • Sound: Antoine Petitjean
    • Photo
  • : Michel Kelber
  • Choreographer: Dances regulated by Claude Granjean
  • Assistants realizer: Serge Vallin, Pierre Kast
    Jacques Rivette (training) and Jean-Claude Brialy (training)
  • Assembly: Boris Lewin
  • Decorations: Max Assisted Douy of Jean Andre and Jacques Douy
  • Poster artist: Clement Hurel
  • Kind: Dramatic comedy
  • Format: Color by Technicolor
  • Visa of exploitation: 9564
  • Left: 1955 (first presentation on April 27th, 1955, with the Gaumont-De luxe hotel in Paris)

Distribution

Concerning film

French-cancan is one of the most popular films of Jean Renoir. When Renoir makes this film on the quite French subject, it returns of a 15 years exile abroad: the United States, India, Italy. Very freely inspired of the biographies of the founders of the Moulin-Rouge, French-cancan is the occasion for Renoir to pay homage to painters such as Henri of Toulouse-Lautrec and Edgar Degas, which is the subject of many visual allusions, like with his/her own father, Auguste Renoir.
Like many musical comedies, French-cancan develops a “morals of the seemingly simple and effective spectacle” (the spectacle passes above all) but which is not stripped of cruelty: the film is indeed haunted by the character of Mimi Pupil, a former dancer of cancan, formerly queen of Paris, become beggar, who undoubtedly represents the future of Nini and with which nobody does not want to really pay attention - except Nini, the day when his/her Paulo lover asks him to choose between the quiet life which it can promise to him and the world spectacle.
Inconstancy in love with Danglard - which can make accept each woman who it is the only one which counts for him - can undoubtedly be regarded as a metaphor of the inconstancy of the public.
French-cancan is also a reflection on the intrusion of financial (and their whims) in the artistic field. As very often at Renoir, the account is also the pretext to see to clash different social classes, here, mainly, the upper middle class (represented in particular by Walter, who regularly explains during film that its class must be surrounded by hypocritical conventions to survive) and the entertainment world. But of other categories are exposed: the working class, from which Nini is resulting, which attracts the middle-class, curious, and the nobility, represented by prince Alexandre, a sovereign with the pure feelings, who will end up understanding that it is not made for Parisian life. This character is rather complex and deserves an analysis: he chooses to be in love with an young girl whom he however knows itself éprise of another, he misses his suicide, and finally, leaving Paris, he asks Nini to offer “false-memories to him”.

Complements

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