Maurice Pialat's portrait of contemporary France mocks prosperity as a substitute for social and sexual revolution. Nelly abandons her bourgeois friends and a steady relationship for the ... See full summary »
Marquis Sévéro, a rich, lazy Parisian, wants to divorce his wife so that he can marry his own goddaughter Denise. But Denise herself loves André Berval, an engineer employed by the marquis.... See full summary »
Gabrielle (Helene Hallier), an ambitious but innocent would-be young chorine, trumps a music hall publicity stunt to become the new Parisian nightclub Cinderella. But this lighter-than-champagne-bubbles story is only a pretext for LA REVUE DES REVUES's white-hot, non-stop procession of outrageously and scantily attired exotic dancers, showgirls, and acrobats including the TillerÂ¹s Follies Girls, Ruth Zackey and the Hoffmann Girls, and danseuse russe Lila Nikolska. But it's Josephine Baker, "the high priestess of primitivism" (J. Hoberman Village Voice), who triumphs in two show stopping numbers in which "her clownish backfield-in-motion Charleston shimmy is unlike anything else in the movie and perhaps unlike anything anyone ever did." Written by
I can agree that this movie now stands more as a historical document than a fully fledged fictional work. While there is a plot it's overwhelmed by the lengthy dance numbers featuring various stars of the day (i.e. Josephine Baker). This will interest anyone in costume history, early 20th century entertainment, dance or those interested in early film techniques.
It should be noted that the color is not the 2 strip Technicolor process but is either created through hand tinting or more likely through a stencil tinting process called Pathécolor/Pathéchrome. You can that it is a tint versus being a color print as you can see many scenes where the color either doesn't line up the actual outlines of the image or where only certain areas of the screen are tinted.
2 of 3 people found this review helpful.
Was this review helpful to you?