Nana (1926)
Directed by Jean Renoir

History / Drama / Romance

Film Review

Abstract picture representing Nana (1926)
Jean Renoir's second full-length film is this lavish and fairly faithful adaptation of Emile Zola's classic novel, Nana.  The film's extravagances include spacious, overly decorated sets and two magnificent set pieces - a horse race and an open air ball (complete with a stunningly choreographed cancan sequence). So much money was spent on the film that it could never have made a profit, and it was the commercial failure of this film which robbed Renoir of the opportunity to make such an ambitious film again for several years.

Whilst Nana is noticeably less experimental than Renoir's previous film, La fille de l'eau (1924), it is a more sophisticated and mature work, and certainly more characteristic of Renoir's subsequent films.   The freedom of expression, the overriding importance of characterisation (even for minor characters), the brittle relationship between men and women - the style of the film is unmistakably that of the great director Jean Renoir. There are even some fine examples of Renoir's wicked sense of humour - including some witty visual jokes and a bedroom farce scene - to complement the film's darker dramatic moments (of which there are plenty).

The film stars Renoir's wife, Catherine Hessling, in one of her most eccentric performances as the flawed heroine Nana.  Hessling is brilliant at capturing the negative qualities of the character - her vulgarity, her arrogance and vanity - but she also manages to arouse sympathy in the spectator and comes across as a victim of her own social background and uncontrollable impulses.   Hessling's performance is characteristically stylised, noticeably lacking in subtlety, but - for once - perfectly suited to the character she is playing.

Hessling works well with her co-stars, Werner Krauss and Jean Angelo, who play Nana's love-struck admirers.  Whilst Hessling's portrayal of Nana appears to lack humanity, there is no end of that quality in her co-stars' performances.  The film is primarily about the power of love to take hold and drag its victims inexorably towards their doom, but it is also about the inability of a working class girl to elevate herself above her baser qualities.

Renoir's scriptwriter, Pierre Lestringuez, and art director, Claude-Autant Lara, also appear in the film (as theatrical director and amorous playwright respectively).   The film was magnificently restored in 2002 by Cinéteca Comunale, with the support of the Franco-German television channel Arte.
© James Travers 2002
The above content is owned by filmsdefrance.com and must not be copied.
Next Jean Renoir film:
Marquitta (1927)

Film Synopsis

A proud but talentless young actress, Nana, dreams of a better life for herself, away from the tawdry slums of Paris.  She gets her chance when a government official, Count Muffat, falls under her spell having watched her performance at the theatre.  Through Muffat's influence, Nana gets the starring role in her next play, but the play is a commercial disaster.  Humiliated, Nana accepts Muffat's offer of a new life as his mistress, living in the sumptuous apartment he provides for her.   One day, Nana receives a visit from her hairdresser's uncle, the Count de Vandeuvres, who proves to be an easy victim for her charms.   Vandeuvres risks everything to win Nana for himself - but fails.  Even Nana's hairdresser, Hugon, is not immune to Nana's charms.  Jealous of Muffat, he kills himself, and the shock of his death drives Nana back to the life of drunken debauchery she thought she had escaped from...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.


Film Credits

  • Director: Jean Renoir
  • Script: Pierre Lestringuez, Denise Leblond, Émile Zola (novel)
  • Cinematographer: Jean Bachelet, Edmund Corwin
  • Music: Marc-Olivier Dupin, Maurice Jaubert
  • Cast: Catherine Hessling (Nana), Pierre Lestringuez (Bordenave), Jacqueline Forzane (La Comtesse Sabine Muffat), Werner Krauss (Le Comte Muffat), Jean Angelo (Le Comte de Vandeuvres), Raymond Guérin-Catelain (Georges Hugon), Claude Autant-Lara (Fauchery), Pierre Champagne (Hector de la Faloise), Karl Harbacher (Francis, le coiffeur), Valeska Gert (Zoe), Jacqueline Ford (Rose Mignon), Dennis Price (Le jockey de 'Nana'), Gresham (Le jockey de 'Lusignan'), Luc Dartagnan (Maréchal, le bookmaker), Nita Romani (Satin), Roberto Pla (Bosc), Gorieux (Le médecin), Pierre Braunberger (Un spectateur), André Cerf (The Tiger), René Koval (Fontan)
  • Country: France
  • Language: French
  • Support: Black and White / Silent
  • Runtime: 150 min

Kafka's tortuous trial of love
sb-img-0
Franz Kafka's letters to his fiancée Felice Bauer not only reveal a soul in torment; they also give us a harrowing self-portrait of a man appalled by his own existence.
The best of American film noir
sb-img-9
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
The best French films of 2018
sb-img-27
Our round-up of the best French films released in 2018.
The best of American cinema
sb-img-26
Since the 1920s, Hollywood has dominated the film industry, but that doesn't mean American cinema is all bad - America has produced so many great films that you could never watch them all in one lifetime.
The very best of German cinema
sb-img-25
German cinema was at its most inspired in the 1920s, strongly influenced by the expressionist movement, but it enjoyed a renaissance in the 1970s.
 

Other things to look at


Copyright © filmsdefrance.com 1998-2024
All rights reserved



All content on this page is protected by copyright