Frederick Wiseman’s stunningly photographed
documentary is an up-close look behind the scenes at one of Paris’s most famous
nude revues ‘The Crazy Horse’, and also at many of the bare behinds that
inhabit the place. His camera rolled freely around the entire Club where uninhibited beautiful European girls seemed
to be permanently in a state of undress.
He filmed rehearsals, auditions and most of the actual routines fully. Wiseman’s un-narrated film revealed that the artistic standards the Revue
maintains are impeccably high and even though I wouldn’t describe the dances in
the same hallowed tones as their creators do, each of the set pieces is nothing
less than visually stunning with dazzling and somewhat inspired lighting. And the choice of music was very surprising to say the least, my favourite being an Anthony Hegarty track that I
least expected to ever hear in a Nude Review.
documentary is an up-close look behind the scenes at one of Paris’s most famous
nude revues ‘The Crazy Horse’, and also at many of the bare behinds that
inhabit the place. His camera rolled freely around the entire Club where uninhibited beautiful European girls seemed
to be permanently in a state of undress.
He filmed rehearsals, auditions and most of the actual routines fully. Wiseman’s un-narrated film revealed that the artistic standards the Revue
maintains are impeccably high and even though I wouldn’t describe the dances in
the same hallowed tones as their creators do, each of the set pieces is nothing
less than visually stunning with dazzling and somewhat inspired lighting. And the choice of music was very surprising to say the least, my favourite being an Anthony Hegarty track that I
least expected to ever hear in a Nude Review.
The Club started in 1951 and to all intents and
purposes maintains much of the original ideology of the founder Alain Bernardin and despite the introduction of new technology in particular this wonderful old
Cabaret still has so many of the now dated details such as the buckets of
champagne sitting on every table before the customers arrive.
purposes maintains much of the original ideology of the founder Alain Bernardin and despite the introduction of new technology in particular this wonderful old
Cabaret still has so many of the now dated details such as the buckets of
champagne sitting on every table before the customers arrive.
We were privy to many of the management meetings which
were (unintentionally) hilarious at times as Philipe the Director/Choreographer having minor temper tantrums tried in vain to get the place closed so he could rehearse new routines, and the main Costume Women was always in a
real fit of pique as she claimed that she was kept out of the loop of decision
making and therefore couldn’t make all the (very minute) outfits to her very high standard. Mind you her ego was relatively small
compared with Ali the outrageous and completely obsessed Artistic Director who
kept insisting that he wasn’t in charge BUT wanted full credit for everything
that happened on the stage.
were (unintentionally) hilarious at times as Philipe the Director/Choreographer having minor temper tantrums tried in vain to get the place closed so he could rehearse new routines, and the main Costume Women was always in a
real fit of pique as she claimed that she was kept out of the loop of decision
making and therefore couldn’t make all the (very minute) outfits to her very high standard. Mind you her ego was relatively small
compared with Ali the outrageous and completely obsessed Artistic Director who
kept insisting that he wasn’t in charge BUT wanted full credit for everything
that happened on the stage.
Before sitting down to watch this film I must confess that I
fitted into the stereotype who believed that such places are really tacky and are produced
purely for Japanese tourists, and I will happily admit I was so wrong. I wouldn’t quite go along with Ali’s demands
that the French Government make it mandatory for every citizen to attend (!)
but it certainly deserves a much wider audience.
fitted into the stereotype who believed that such places are really tacky and are produced
purely for Japanese tourists, and I will happily admit I was so wrong. I wouldn’t quite go along with Ali’s demands
that the French Government make it mandatory for every citizen to attend (!)
but it certainly deserves a much wider audience.
Coming in at 2 hours the film was too long by at least
30 minutes which spoilt an otherwise near perfect documentary. I was also reminded that my tastes in movies is
certainly not conventional in the least, as while I reveled in the spectacular sights on the screen, there
were more than a few dozen walkouts from the audience.
Each to their own, but in this case, I still think it was their loss not staying to the finale.
30 minutes which spoilt an otherwise near perfect documentary. I was also reminded that my tastes in movies is
certainly not conventional in the least, as while I reveled in the spectacular sights on the screen, there
were more than a few dozen walkouts from the audience.
Each to their own, but in this case, I still think it was their loss not staying to the finale.
P.S. One of the musical numbers that M. Bernardin co-wrote is still in the revue, and Christine Aguilera also vamped too it that easily forgettable dreadful movie ‘Burlesque’ : the song is ‘But I’m A Good Girl’.
★★★★★★★★
Labels: documentary
