Whatever might be said about Jean Renoir’s musical comedy
French Cancan, it must be said first that it doesn’t seem
prototypically French. Its frenzy of color, excitement, and nonstop musical
numbers makes it feel more like Hollywood product than your average French film
from the fifties. If the relationships are a bit more complex than you might
expect to find in this sort of film, they certainly aren’t as multifaceted as
in the bulk of Renoir’s other works. French Cancan tells the tale of
Danglard (Jean Gabin), an ambitious theater producer that founds the infamous
Moulin Rogue, and Nini (Françoise Arnoul), the laundry girl-cum-dancer that
catches his eye, and most of the clichés of the Hollywood backstage musical are
represented here, though the film has a sexual frankness missing from most
American musicals of the era. The film usuallyworks wonderfully in spite of its formulaic structure. Certainly,
Danglard’s inspirational and impassioned speech about the performers’ need
to sacrifice themselves for their public soars, despite its familiarity. The
cast, filled with misfits that could only find true happiness on the stage, is
composed of types that we’ve seen countless times before, but the actors still
manage to make them seem appealing.
The pastel colored Paris that French Cancan takes
place in is so idealized that even the street urchins have a sense of style.
Everything in the movie feels as if it’s been cranked up a notch. The
characters are overly melodramatic about their love lives, but it has a comic
effect, not a simplifying one. When one ditched Romeo shoots himself out of a
heightened sense of despair, the film can’t bear to let him look ugly, and in
the next scene he’s as dashing as ever. There seems to always be some dancing
in the background of the frame in this movie, and that energy is contagious.
Even when we’re not marveling at the feats of the dancers, the dancing itself
seems to comment upon the action. A waltz around a jilted lover makes him seem
all the more alone since frolicking couples surround him. The rehearsal scenes
in which the dancers practice loosening up their legs are filled with pratfalls
that make us laugh as we grow to appreciate the amount of work that goes into
the preparation of the dance. When a woman spies her lover dancing with another
man, it’s her sexual jealousy that charges their dance with erotic energy.
Still, little can prepare us for the dazzling set piece that closes the film. In
what is surely one of the best musical numbers ever filmed, the finale shows us
the Moulin Rouge’s opening-night cancan, and it lets us understand the
excitement of that landmark in a way that Baz Luhrmann’s film could only hint
at. It’s a stunner.