Gervaise Macquart, a young lame laundress, is left by her lover Auguste Lantier with two boys... She manages to make it, and a few years later she marries Coupeau, a roofer. After working ... See full summary »
In the early 16th century, Italy is ruled by the powerful Borgia family, led by César Borgia and his sister Lucrètè. In a ruthless power play, César plots to have his sister's husband ... See full summary »
At an exclusive psychiatric clinic, the doctors and staff are about as crazy as the patients. The clinic head, Dr. Stewart McIver, thinks that it would be good therapy for his patients to ... See full summary »
Deux beaux-frères, Didier et Bernard se lancent un défi: chacun ne doit pas fumer pendant quatorze jours. Ce pari, qui se prolongera ultimement sur beaucoup plus longtemps, bouleversera ... See full summary »
Nana is 4 years old and lives in a stone house beyond the forest. Back from school, a late afternoon, all she finds is silence in the house. A journey into the darkness of her childhood. The world from her height.
14th July 1782. While the wedding of her older unprepossessing sister Louise to a wealthy aristocrat is being celebrated, sixteen-year old beauty Caroline falls in love with an attractive ... See full summary »
Now I understand why the Nouvelle Vague was so necessary.
I waited a long time to see this adaptation of Zola's famous novel but was really disappointed by the slow pace, the stilted dialogue (badly subtitled as well, in the VHS tape I saw) and the unimaginative camera work. It's pretty clear that this is precisely the type of post-WWII studio film against which Truffaut and Godard rebelled. And thank God they did, because their work is so much more interesting than period potboilers like this one. Martine Carol is vivacious and charming, but with limited acting ability. To be fair, "Nana" is the type of actress who is renowned for her fabulous body and her bold display thereof, rather than for any kind of musical or dramatic skills. (Sound familiar, Hollywood?) Also, as a plus, the film is very frank about how Nana earns a living outside of her stage appearances, and how her entourage skims off her fees by providing either information or access. I found this candor refreshing since most Hollywood movies of this era are very coy about whoring. Think about the presentation of Jo Van Fleet in "East of Eden," for example. Charles Boyer plays the male lead here, a hypocritical aristocrat in the Emperor's employ, but it's an unsatisfying part. It's all about "Nana," and in the end, being the selfish little baggage she is, she would prefer it that way.
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