I would give this evocation of the early Moulin Rouge a high rating for the final fifteen minutes alone, a dazzling recreation of what might have been the riotous presentation of the French Cancan during the Belle Epoque, all color and noise and organized mayhem.
This is an old-fashioned film about a theatrical entrepreneur who turns working girls into stars--one at a time. Likable roué Jean Gabin plays Danglar with great aplomb, and having worked in the theatre myself, recognize the fine backstage moment in the film where the creator does not hurry to see his final creation; it is a quiet, subtle moment, and like much in the film, can be lost in the build-up to the opening of France's most famous dance hall; the color is mint Technicolor, the acting spot on, and, while old-fashioned, the film is a lovely evocation of an imagined past.
This is an old-fashioned film about a theatrical entrepreneur who turns working girls into stars--one at a time. Likable roué Jean Gabin plays Danglar with great aplomb, and having worked in the theatre myself, recognize the fine backstage moment in the film where the creator does not hurry to see his final creation; it is a quiet, subtle moment, and like much in the film, can be lost in the build-up to the opening of France's most famous dance hall; the color is mint Technicolor, the acting spot on, and, while old-fashioned, the film is a lovely evocation of an imagined past.