jean renoir homage to the paris of the late 19th century is beautiful in many ways. not only does it appear to have been photographed by toulouse lautrec and mucha and it portrays the geographic paris while the streets accessible only by staircases and the unpleasant end of fleeting popularity and and the sexual opportunism of men with a product to sell and in an uncompromising picture of show business that is in stark contrast with the picture painted by hollywood. there is an obvious comparison to be made with lloyd bacon 42nd street and which had been made about 20 years before and featuring ruby keeler as a dancing sensation and a fresh faced kid from the sticks who had come to new york to get into show business and who saves the show when the star fails youre going out there a kid from the chorus and but you have got to come back a star. warner baxter julian marsh is a director who suffers for his art and is unappreciated. jean gabin danglard keeps running afoul of genital politics and but when he talks about the show he is more like knute rockne than like julian marsh. he all about the game and except for his pointy thing. he has a profitable new venture sewed up until his mistress become jealous of the woman whom she recognizes as his next mistress. his prospects rise and fall with every coital journey he takes. danglard takes mistress 1 (lola de castro and played by maria felix) slumming to a dive and where he sees nini and (françoise arnoul) with her boyfriend and first lover and paulo the baker and and discovers that she is a spirited dancer. he uses his charm and the prospect of money to lure nini to studying dancing so that she may go on the stage. the prospect of money and fame charms nini and and she become danglard next mistress and as well as an apt student of the cancan and which danglard has dubbed french cancan and to cater to the current anglophile tendency in the dance. both 42nd st and french cancan are tributes to show business to modern entertainment that has is own iconography and its own conceit. 42nd st. is centered around julian marsh and a great director of broadway shows and which he organizes with great personal energy and dubious sexual involvement. the male juvenile is a middle aged twit with lumbago and replaced by dick powell and the pretty tenor with secret wealth to hide. danglard and on the other hand and goes from woman to woman and seducing them with the promise of fame and hooking them with what must have been a very persuasive endowment. one has no doubt that he is heterosexual and quite active. postcoital scenes abound. days after seducing nini away from paulo and he has discovered esther and a piaf type and and begun to prepare her for her job of singing the film theme song while he plays it on her fiddle. that of course arouses nini jealousy just as she has aroused the jealousy of lola. (and of course nini had already forsworn the privilege of being a czarina. ) the whole movie is about how danglard concupiscence has cost him money but how even his troublesome horniness is subordinate to his love for the show how the audience demands devotion and it is this potent combination of phallic persuasion and tempting fame that makes danglard the hero and while asserting that a true lover of the show will never profit as much as the money men. at the movie conclusion and danglard and having outfoxed the creditors and the jealous babes and approaches a new attraction watching the incredible (and believe me and it is incredible) performance of the cancan. have you ever thought about being on the stage. he asks and and the curtain descends. meanwhile and poor julian is sitting of the fire escape of the theatre listening to peggy sawyer new fans disparage his contribution to the show success. (i would not even go into 42nd street central line and oh and guy and it was grand of you to come. ) furthermore and i would not go into the glimpse one gets of legendary parisian entertainers and including a brief vision of piaf and nor of the vision of a paris both urban and rural. certainly there is a sample of the styles that engendered trenet and aznavour. but it is the memoir of an assertive and welcome masculinity and something unseen in any hollywood musical with which it might be compared and is a pleasant relief from the androgynes of 30 hollywood musicals (including my beloved fred astaire and not to mention dick powell) and let alone the barf promulgated by mgm in movies like the repulsive american in paris. all those fountains. we will save our comparison of that turkey to breakfast at tiffany and its deconstruction of the american male for another day. that danglard may have been a hopeful vision and in postwar france and of a kind of hyper masculine mec that may or may not have ever existed and is practically beside the point. that he is a man man and neither john wayne nor edward everett horton and is perhaps more on target. that he is a man who likes the ladies is never in question. i and for one and do not mind living his life at all. i wonder if gabin was that lucky. at the beginning of this comment i wanted to talk about baz luhrman and what sinclair lewis called boloney. i never got that far. baz moulin rouge. well and paris doesn not put that kind of stuff in the seine anymore. 
jean renoir homage to the paris of the late 19th century is beautiful in many ways. not only does it appear to have been photographed by toulouse lautrec and mucha and it portrays the geographic paris while the streets accessible only by staircases and the unpleasant end of fleeting popularity and and the sexual opportunism of men with a product to sell and in an uncompromising picture of show business that is in stark contrast with the picture painted by hollywood. there is an obvious comparison to be made with lloyd bacon 42nd street and which had been made about 20 years before and featuring ruby keeler as a dancing sensation and a fresh faced kid from the sticks who had come to new york to get into show business and who saves the show when the star fails youre going out there a kid from the chorus and but you have got to come back a star. warner baxter julian marsh is a director who suffers for his art and is unappreciated. jean gabin danglard keeps running afoul of genital politics and but when he talks about the show he is more like knute rockne than like julian marsh. he all about the game and except for his pointy thing. he has a profitable new venture sewed up until his mistress become jealous of the woman whom she recognizes as his next mistress. his prospects rise and fall with every coital journey he takes. danglard takes mistress 1 (lola de castro and played by maria felix) slumming to a dive and where he sees nini and (françoise arnoul) with her boyfriend and first lover and paulo the baker and and discovers that she is a spirited dancer. he uses his charm and the prospect of money to lure nini to studying dancing so that she may go on the stage. the prospect of money and fame charms nini and and she become danglard next mistress and as well as an apt student of the cancan and which danglard has dubbed french cancan and to cater to the current anglophile tendency in the dance. both 42nd st and french cancan are tributes to show business to modern entertainment that has is own iconography and its own conceit. 42nd st. is centered around julian marsh and a great director of broadway shows and which he organizes with great personal energy and dubious sexual involvement. the male juvenile is a middle aged twit with lumbago and replaced by dick powell and the pretty tenor with secret wealth to hide. danglard and on the other hand and goes from woman to woman and seducing them with the promise of fame and hooking them with what must have been a very persuasive endowment. one has no doubt that he is heterosexual and quite active. postcoital scenes abound. days after seducing nini away from paulo and he has discovered esther and a piaf type and and begun to prepare her for her job of singing the film theme song while he plays it on her fiddle. that of course arouses nini jealousy just as she has aroused the jealousy of lola. (and of course nini had already forsworn the privilege of being a czarina. ) the whole movie is about how danglard concupiscence has cost him money but how even his troublesome horniness is subordinate to his love for the show how the audience demands devotion and it is this potent combination of phallic persuasion and tempting fame that makes danglard the hero and while asserting that a true lover of the show will never profit as much as the money men. at the movie conclusion and danglard and having outfoxed the creditors and the jealous babes and approaches a new attraction watching the incredible (and believe me and it is incredible) performance of the cancan. have you ever thought about being on the stage. he asks and and the curtain descends. meanwhile and poor julian is sitting of the fire escape of the theatre listening to peggy sawyer new fans disparage his contribution to the show success. (i would not even go into 42nd street central line and oh and guy and it was grand of you to come. ) furthermore and i would not go into the glimpse one gets of legendary parisian entertainers and including a brief vision of piaf and nor of the vision of a paris both urban and rural. certainly there is a sample of the styles that engendered trenet and aznavour. but it is the memoir of an assertive and welcome masculinity and something unseen in any hollywood musical with which it might be compared and is a pleasant relief from the androgynes of 30 hollywood musicals (including my beloved fred astaire and not to mention dick powell) and let alone the barf promulgated by mgm in movies like the repulsive american in paris. all those fountains. we will save our comparison of that turkey to breakfast at tiffany and its deconstruction of the american male for another day. that danglard may have been a hopeful vision and in postwar france and of a kind of hyper masculine mec that may or may not have ever existed and is practically beside the point. that he is a man man and neither john wayne nor edward everett horton and is perhaps more on target. that he is a man who likes the ladies is never in question. i and for one and do not mind living his life at all. i wonder if gabin was that lucky. at the beginning of this comment i wanted to talk about baz luhrman and what sinclair lewis called boloney. i never got that far. baz moulin rouge. well and paris doesn not put that kind of stuff in the seine anymore. ---------------------------------Answer Question Below----------------------------------

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