Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (21)
| Top Critics (3)
| Fresh (21)
| Rotten (0)
M. Renoir's affectionate picture hasn't quite the class of Huston's Moulin Rouge. But it makes for diverting entertainment as sheer sentimental spectacle.
The climactic cancan scene is one of the finest dance sequences ever filmed, and worth the price of a ticket on its own.
This 1955 Technicolor musical is the easiest to like of Jean Renoir's late films, full of color, movement, and romance.
Above all, it is a picture to see, without a critics's notebook, as a rare pleasure.
Nostalgic studio-bound Hollywood-like splashy pic about the beginnings of the Moulin Rouge.
A simple story told with abundant charm.
Begins with an extended and breathtaking evocation of the Moulin Rouge at its most ravishing, one of the cinema's greatest sequences.
It is unashamedly nostalgic and somewhat meandering but chock full of colour and affection for its characters.
The glorious final sequence, in which the cancan is finally unveiled to the rowdy audience, is some kind of masterpiece, perhaps the equal of anything Renoir ever achieved: wild, free, turbulent, exhilarating.
Nothing if not thoroughly enjoyable.
[It] was not the cinema event it promised to be. Yet there is still much to treasure in this exuberant tribute to the Moulin Rouge.
If the film lacks the social bite of Renoir's pre-war work, it's still a rich celebration of life and the director's own birthplace.
Renoir's tale of the introduction of the cancan to Paris is a charming tale with charming actors in a memorable tale.
this is lots of fun and better than huston's 'moulin rouge' imo. how wonderful to see the fierce maria felix in such a high profile role outside of mexico. it's a little unbelievable that the aging jean gabin still gets all the girls. and he didn't need to be such a bastard about it either
It was quite seductive to watch this colourful concoction projected on the cinema screen in a beautifully restored print. It has the fluff and exuberance of an MGM musical standing on the legs of the usual Renoir social commentary and his view on the bourgeois and the world of the arts. This is supported by the fact that a fairly banal love story is followed by an incredibly exhilarating cancan final sequence: after all, why should we be so concerned with things so mundane such as romantic entanglements when dancing brings you so much more joie de vivre?
[font=Century Gothic]"French Can-Can" takes place in 19th century Paris where famed impresario Henri Danglard(Jean Gabin), who has always had a knack for spotting talent in ordinary people, is facing bankruptcy but has an ambitous idea to bring back the Can-Can to a new nightclub he is planning to open in Montmartre, the Moulin Rouge. To headline, he has recruited a laundress, Nini(Francoise Arnoul), to be his star dancer, even if her boyfriend, Paulo(Franco Pastorino), is less than thrilled and even a little jealous.[/font]
[font=Century Gothic]"French Can-Can" is a fun, enjoyable and beautiful movie about the complications and business of entertainment that ends with a great show stopper. It also has quite a bit to say about class relations of the time period, especially about the mixing of the upper and lower classes. Jean Gabin has charm to spare. But I feel like I needed a scorecard to keep track of all of the romantic entanglements.[/font]
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