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Nana (1934)

Nana is a 1934 American Pre-Code film, produced by Samuel Goldwyn, released through United Artists, starring Anna Sten. and directed by Dorothy Arzner and George Fitzmaurice. This version ... See full summary »


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Complete credited cast:
Anna Sten ... Nana
Lionel Atwill ... Colonel André Muffat
Richard Bennett ... Gaston Greiner
Mae Clarke ... Satin
Phillips Holmes ... Lieutenant George Muffat
Muriel Kirkland ... Mimi
Reginald Owen ... Bordenave
Helen Freeman Helen Freeman ... Sabine Muffat
Lawrence Grant ... Grand Duke Alexis
Jessie Ralph ... Zoe
Ferdinand Gottschalk ... Finot


Nana is a 1934 American Pre-Code film, produced by Samuel Goldwyn, released through United Artists, starring Anna Sten. and directed by Dorothy Arzner and George Fitzmaurice. This version of Émile Zola's heroine was to be the vehicle for Sten's triumph as Samuel Goldwyn's trained, groomed and heavily promoted answer to Greta Garbo. Despite the big investment, the publicity help from William Randolph Hearst, and a record-breaking opening week at Radio City Music Hall, Sten was beautiful but disappointing. Goldwyn's tutoring of Sten is mentioned in Cole Porter's 1934 song "Anything Goes" from the musical of the same name: "If Sam Goldwyn can with great conviction / Instruct Anna Sten in diction / Then Anna shows / Anything goes."

Plot Summary | Add Synopsis









Release Date:

1934 (Turkey) See more »

Also Known As:

Naná See more »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


Producer Samuel Goldwyn hoped that this film would launch actress Anna Sten as "the next Greta Garbo." In spite of the doubling of the film's budget, however, it was a flop. See more »


Version of Nanà (1914) See more »


That's Love
Music by Richard Rodgers
Lyrics by Lorenz Hart
Sung by Anna Sten
See more »

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User Reviews

A different side to Anna Sten
19 September 2013 | by jimjo1216See all my reviews

Ukrainian-born Anna Sten was brought to Hollywood by Samuel Goldwyn to be the next Greta Garbo, but her career didn't quite pan out that way. I'd seen WE LIVE AGAIN (1934), an Anna Sten vehicle adapted from a Tolstoy epic, and I didn't care much for it. I hadn't heard great things about NANA (1934), Sten's Hollywood debut, and was hesitant to check it out. But NANA's not too bad and it's easy to see Anna Sten's appeal.

NANA is a period piece based on the novel by Emile Zola. Sten plays a Parisian streetwalker who is discovered by a theatrical impresario and becomes a stage success before falling in love with a soldier and running afoul of his protective older brother. Anna Sten does alright in the lead role. She's a beautiful girl, and her hard-boiled performance is much different than her turn in WE LIVE AGAIN. Part Garbo, part Marlene Dietrich, she even talk-sings through a stage number, smoking a cigarette.

Sten has a noticeable accent, like many other foreign imports, but her acting isn't as bad as some people say. Sten's character is a self-confident prostitute, at ease with her place in Paris society. It's a low-energy role. All she's really required to do is effortlessly seduce every man who looks at her, and she seems to pull it off. She's certainly very attractive. The scene where she teases her new admirers in her dressing room has a sexy edge. Perhaps Anna Sten came off as too much of a Dietrich/Garbo stand-in, without a style of her own.

Lionel Atwill plays his usual antagonistic aristocrat, though the forty-eight-year-old Atwill is improbably cast as the older brother to twenty-six-year-old Phillips Holmes, who plays the young soldier who falls in love with Sten. The cast also includes Jessie Ralph as Sten's personal maid, Richard Bennett as the great impresario, and Reginald Owen as his assistant. The film does suffer from a lack of star power, with no Fredric March or Gary Cooper to shoulder some of the weight. Anna Sten gets the spotlight to herself in what is meant to be a star-making role, but her name alone wouldn't be enough to draw an audience.

Mae Clarke, one of my favorite actresses from the 1930s, was a big reason I gave NANA a shot. She plays one of Sten's prostitute buddies (along with Muriel Kirkland). Clarke does a good job, but it's a minor role. Her performances in several early-1930s films are refreshingly naturalistic, but she was eventually reduced to often-uncredited bit parts. Viewers may know Mae Clarke from THE PUBLIC ENEMY (1931) or FRANKENSTEIN (1931), but I'd also recommend her work in WATERLOO BRIDGE (1931), THREE WISE GIRLS (1932), THE MAN WITH TWO FACES (1934), PENGUIN POOL MURDER (1932), and LADY KILLER (1933).

NANA was directed by Dorothy Arzner, the only female director working in Hollywood at the time. Set in 1860s Paris, it's a decent period piece. Good production values, nice costumes, and a tragic romance. Better than I expected, and a pretty good showcase for Goldwyn's exotic new discovery, Anna Sten. Unfortunately audiences in 1934 didn't take to NANA or Sten, and she never achieved stardom.

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