French Cancan
Synopsis
Henri Danglard, proprietor of the fashionable (but bankrupt) cafe 'Le Paravent Chinois' featuring his mistress, belly dancer Lola, goes slumming in Montmartre (circa 1890) where the then-old-fashioned cancan is still danced. There, he conceives the idea of reviving the cancan as the feature of a new, more popular establishment...and meets Nini, a laundress and natural dancer, whom he hopes to star in his new show. But a tangled maze of jealousies intervenes...
Source : IMDb
Credits
Director (1)
Actors (54)
Production and distribution (4)
- Executive Producer : Franco-London Films
- Foreign production company : Jolly Film
- Film exports/foreign sales : Gaumont
- French distribution : Gaumont
Full credits (12)
- Screenwriter : Jean Renoir
- Director of Photography : Michel Kelber
- Music Composer : Georges Van Parys
- Assistant Director : Pierre Kast
- Editor : Boris Lewin
- Sound Recordist : Antoine Petitjean
- Costume designer : Rosine Delamare
- Producers : Louis Wipf, Henry Deutschmeister
- Original idea : André-Paul Antoine
- Continuity supervisor : Ginette Courtois
- Production Designer : Jean André
- Production Designer : Max Douy
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Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Comedy
- Themes : Dance, Femininity, Love
- Production language : French
- Coproducer countries : France, Italy
- Original French-language productions : Yes
- Nationality : Majority French (France, Italy)
- Production year : 1954
- French release : 29/04/1955
- Runtime : 1 h 47 min
- Current status : Released
- Visa number : 9564
- Visa issue date : 12/04/1955
- Approval : Yes
- Production formats : 35mm
- Color type : Color
- Aspect ratio : 1.37
- Audio format : Mono
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International releases
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News & awards
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About
Critical reception
François Truffaut reviewed the film in Arts magazine in May 1955 and called the film a milestone in the history of colour of cinema. "Every scene is a cartoon in movement [-] Madame Guibole's dance class reminds us of a Degas sketch." Whilst Truffaut did not consider it as important a film as Rules of the Game or The Golden Coach he nevertheless praised it as an example of Renoir "as vigorous and youthful as ever." This affirmative response was not shared by Bernard Chardère however, writing in Positif , who criticised the music, the sets, even the final cancan scene. "The phoniness of the rue Lepic, with its vegetable carts and piles of artificial stones is painful to look at. The actors act. The audience gets bored. The dance rehearsals are Degas all right, but the kind that appears on Post Office calendars."
Source : Wikipedia
