Word: cancan
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Dates: during 1960-1969
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...else pan gold themselves, sourdough-fashion, in chutes from the Chena River; sip cocktails in the "Wheelhouse," a VIP lounge on the superstructure of the old Alaskan stern-wheeler Nenana; view an aboriginal village with Eskimo kayak rides and a Tlingit totem-pole carver at work; or ogle the cancan dancers from an authentic gold-rush...
...French Cancan (1955), on the opening night of the club Moulin Rouge, Nini (Francoise Arnoul) the star dancer refuses to perform when she sees the owner, Danglar (Jean Gabin) being unfaithful with the star singer. Ordered from her locked dressing room by her mother, she states that she will only dance if Danglar promises to dismiss his other mistresses. Danglar, pinned to the wall, stammers what we had suspected all along: Nini could never keep him tied down; his life is the theatre and he loves only what he creates, while he is creating it. "You!" he says, pointing...
...French Cancan is a massive and complicated film. The fifteen minute dance that ends the film is cross-cut with shots of solitary Danglar, not watching his triumphant opening from the nightclub but listening backstage. He doesn't need to watch the girls perform, for they are an expression of his soul; he lives through them. At the same time, Renoir makes it clear that the Cancan girls are individuals, not simply submissive to Danglar's way of life. Though we initially question the individuality of people who happily exist as part of the order of Danglar's universe. Renoir...
Although Barrault's and Gabin's performances contribute, as does the magnificent photography (note how in French Cancan, Renoir recreates his father's Impressionist pastels), the real greatness of these two films is perhaps undefinable. As the characters move toward one or another stage of self-realization, Renoir's films take on an even larger, universal significance. His spirit, his ability to create characters through use of clear, almost divine, light give his films an aura of undeniable truth, as if he were a Biblical prophet, telling us the word...
SWEET CHARITY. As Toulouse-Lautrec memorialized the cancan girls of Pans, Director Bob Fosse celebrates the taxi dancers of New York with stylish staging and sophisticated choreography. Owen Verdon is a terpsichorean tornado as a gal who has a lot of love to give-if she could only find a taker...