Henri Danglard, proprietor of the fashionable (but bankrupt) cafe 'Le Paravent Chinois' featuring his mistress, belly dancer Lola, goes slumming in Montmarte (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... Written by
Rod Crawford <firstname.lastname@example.org>
The story is simple but the execution is marvelous. A Belle Epoque impresario, down on his financial luck, is going to open a new club, the Moulin Rouge, with a new dance, the French cancan. He encounters a working girl and makes her a dancer. She'll become a star. There are several crises to overcome before that happens.
The movie is Jean Renoir's tribute to show business, and he puts it on the screen with color, verve, humor, and humanity. There are wonderful performances by all the actors. The leads are Jean Gabin as Henri Danglard, the impresario; Francoise Arnoul as Nini, the girl who'll become a star; and Maria Felix as Lola de Castro, an overwhelmingly tempestuous beauty and Danglard's lover at the start. Gabin exudes confidence, worldly humor and dedication to show business. He even dances a bit. Arnoul is first rate, too. It looks like she was doing her own dances, and as an actress think of a young Leslie Caron with brains and charm.
The climax of the movie is the opening of the club, with Felix's star dance, comic songs, a whistler, a Danglar-discovered singer, all moving toward the introduction of the French cancan. The crises happen and are resolved. Then the cancan explodes. Dancing girls come bursting out from the stage, the front of the theater, through posters, down ropes from the balcony. The house swirls with the black tie and tails of the swells and the garish colors of the dancers' gowns. The cancan number lasts probably ten or fifteen minutes or so, all music and gaiety, all high kicks and splits. It's amazing when row after row of the dancers, moving toward the camera through the audience, leap up, legs extended straight forward and backward, backs arched, then land on the dance floor in full splits. I didn't know whether to shout or wince.
The last scene of the movie is outside the club, shot from the cobblestone street looking at the entrance. It's a medium shot and from the side street a happy, inebriated fellow in black tie and top hat staggers across, pauses to tip his hat at the camera, then staggers off. A completely charming ending.
This really is a marvelous movie.
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