Montmartre, 1896: the Can-Can, the dance in which the women lift their skirts, is forbidden. Nevertheless Simone has it performed every day in her nightclub. Her employees use their female ...
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Dave Hirsch, a writer and an army veteran winds up in his small Indiana hometown, to the dismay of his respectable older brother. He meets and befriends various different characters and tries to figure out what to do with his life.
A housewife is doing her best to keep her family together as it's slowly falling apart, a fact she's trying to ignore. Her cheating husband's birthday party is approaching and many lines will be crossed after that event.
Taxi dancer Charity continues to have Faith in the human race despite apparently endless disappointments at its hands, and Hope that she will finally meet the nice young man to romance her ... See full summary »
Jerry Ryan is wandering aimlessly around New York, having given up his law career in Nebraska when his wife asked for a divorce. He meets up with Gittel Mosca, an impoverished dancer from ... See full summary »
Widower Tony is trying to keep a small Miami hotel afloat while raising a 12-year-old son. He's forced to ask his harried brother Mario for help, but he'll only bail Tony out if he quits his bohemian lifestyle and marries a sensible woman.
Edward G. Robinson,
Montmartre, 1896: the Can-Can, the dance in which the women lift their skirts, is forbidden. Nevertheless Simone has it performed every day in her nightclub. Her employees use their female charms to let the representatives of law enforcement look the other way - and even attend the shows. Then the young ambitious judge Philippe Forrestier decides to bring this to an end. Will Simone manage to twist him round her little finger, too? Her boyfriend Francois certainly doesn't like to watch her trying.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
During the opening song, François Durnais (Frank Sinatra) says 'You'll never make it' to a very short man with a taller woman. The man, carrying a painting, is a reference to Henri de Toulouse Lautrec. This is one of several glaring examples of Sinatra's blatant refusal to adapt his performance style to suit the film's time period. See more »
"Can-Can" is a feeble and obvious attempt to match the wit and high professional gloss of "Gigi." The cast even included Maurice Chevalier, still enjoying the quiet pleasures of old age as a tolerant judge named Paul Barriere, and Louis Jourdan, cast here as an upright young judge named Philippe Forrestier After Judge Forrestier becomes amorously involved with the café owner Simone Pistache (Shirley MacLaine), and legally involved with her shifty lawyer boyfriend (Frank Sinatra), he is no longer the same man
"Can-Can" is a musical film that virtually embodies the reasons for the decline of the genre in the sixties Except for its appropriately gaudy costumes and for the exuberant performance by dancer Juliet Prowse as a cancan girl, the musical is without joy or genuine style under Walter Lang's unfocused direction
The Cole Porter score reveals the composer at his most ersatz Parisian The two of the central roles are grotesquely miscast: Sinatra, who seems to have arrived to Paris by way of New Jersey, creates no discernible or even vaguely likable character in François MacLaine does well in the musical portions, but her Pistache is simply shrill and unappealing Maurice Chevalier and Louis Jourdan work hard at injecting some life into the dull proceedings Chevalier with his trademark shrugged-shoulders, laissez-faire attitude toward life and love, expressed to such songs as "Live and Let Live" and "Just One of Those Things," and Louis Jourdan with the French charm he displayed so prominently in "Gigi."
For all their efforts, however, Can-Can emerges as a flat soufflé
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