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Pierre Lestringuez (scenario)
Émile Zola (inspired by the novel by)
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Release Date:
25 June 1926 (France) See more »
When the vivacious and beautiful Nana bombs at the Théâtre des Variétés, she embarks on the life of a courtesan, using her allure and charisma to entice and pleasure men. Full summary » | Add synopsis »
User Reviews:
Slaves to love See more (10 total) »


  (in credits order)

Catherine Hessling ... Nana
Pierre Lestringuez ... Bordenave (as Pierre Philippe)
Jacqueline Forzane ... La Comtesse Sabine Muffat

Werner Krauss ... Le Comte Muffat
Jean Angelo ... Le Comte de Vandeuvres
Raymond Guérin-Catelain ... Georges Hugon (as R. Guérin Catelain)
Claude Autant-Lara ... Fauchery (as Claude Moore)
Pierre Champagne ... Hector de la Faloise
Karl Harbacher ... Francis - le coiffeur (as Arbacher)

Valeska Gert ... Zoe - la femme de chambre
Jacqueline Ford ... Rose Mignon

Dennis Price ... Le jockey de 'Nana' (as Price)
Gresham ... Le jockey de 'Lusignan'
Luc Dartagnan ... Maréchal - le bookmaker (as Dartagnan)
Nita Romani ... Satin
Roberto Pla ... Bosc (as R. Pla)
Gorieux ... Le médecin
rest of cast listed alphabetically:
Pierre Braunberger ... Un spectateur (uncredited)
André Cerf ... The Tiger (uncredited)
René Koval ... Fontan (uncredited)

Marie Prevost ... Gaga (uncredited)
Raymond Turgy ... Un spectateur (uncredited)

Directed by
Jean Renoir 
Writing credits
Pierre Lestringuez (scenario)

Émile Zola (inspired by the novel by)

Denise Leblond (intertitles) (as Mme Le Blond Zola)

Produced by
Jean Renoir .... producer
Original Music by
Marc-Olivier Dupin (2002)
Maurice Jaubert 
Cinematography by
Jean Bachelet 
Edmund Corwin  (as C. E. Corwin)
Film Editing by
Jean Renoir 
Art Direction by
Claude Autant-Lara 
Costume Design by
Claude Autant-Lara  (as C. Autant Lala)
Second Unit Director or Assistant Director
André Cerf .... assistant director
Visual Effects by
W. Percy Day .... matte painter
Music Department
Gabriel Benlolo .... musician: percussion - Dupin score
Benjamin Caillaud .... assistant music recordist: Dupin score
Dominique Collemare .... musician: trumpet - Dupin score
Jean-Baptiste Courtois .... musician: harmonium - Dupin score
Anne-Cécile Cuniot .... musician: flute - Dupin score
Hélène Devilleneuve .... musician: oboe - Dupin score
Marc-Olivier Dupin .... conductor: new score
Clément Escaffre .... assistant music recordist: Dupin score
Jérome Julien-Laferrière .... musician: clarinet - Dupin score
Valérie Kafelnikov .... musician: harp - Dupin score
Hae Sun Kang .... musician: violin - Dupin score
Sylvain Le Provost .... musician: double bass - Dupin score
Jean-Loup Morette .... music recordist: Dupin score
Takenori Nemoto .... musician: horn - Dupin score
Frank Sibold .... musician: bassoon - Dupin score
Benny Sluchin .... musician: trombone - Dupin score
Renaud Stahl .... musician: alto - Dupin score
Agnès Vesterman .... musician: cello - Dupin score

Production CompaniesDistributors

Additional Details

Also Known As:
150 min
Aspect Ratio:
1.20 : 1 See more »
Sound Mix:

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Slaves to love, 16 September 2012
Author: Gary170459 from Derby, UK

Another film to cross off my Jean Renoir Complete List, another probably never to watch again. It's not that it's bad, generally it's pretty good and nearly always interesting but it's over-melodramatised and simplified Zola for my taste.

Actress Nana has men especially rich men eating out of the palm of her hand and begging for more, she has at least 3 suitors vying for her courtesan favours. How it all unravels is the subject of the classic tale. And the sets are marvellous, sub-Stroheim, the modern tinting and music very good (Studio Canal), the print clear and sharp, and the photography excellent considering the then technical limitations Renoir had to contend with. The big problem is Hessling's – and the other leads – constant over-acting spoil the flow of the story. Definitely not tres chic! They all make the contemporary British barnstorming actor Todd Slaughter look subtle in comparison, although to be fair for a lot of the time the leading men seemed to understudy statues to Nana's wildly waving arms. As a rule silent films needed expressive acting to hold wandering eyes in the cinemas, but this reminded me of the mickey-taking in Singin' In The Rain. A red blooded male swooningly said at the beginning in response to her stage dancing that she was "the pinnacle of elegance"! And I also doubt whether either sexists or feminists will find anything worthwhile.

But I enjoyed the 129 minutes as I like silent films anyway – if you're only a Renoir completist I think it'll be an ordeal for you to complete. Nice print and tints!

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