Aesthetically notable only for the baroque vastness of its underutilized interiors, Nana is conventional in both narrative and form. The only exception to this is the final scene, which offers a neat blend between an objective depiction of reality and Nana's delirious perspective. Nevertheless, given the film's languorous pace at over two hours, even this well executed scene arrives too late to make much of an impression. Renoir's regression to a less innovative style is especially disappointing given the promise of the Impressionistic techniques on display in his previous film Whirlpool of Fate.
Unfortunately for a work that relies so heavily on plot, neither the characters nor the standard "loose woman brings about the downfall of herself and several others" details are especially well developed. The broad (even for a silent) acting style further limits Nana's appeal. Overall, this film's reputation as Renoir's best silent baffles me and I can only assume that those who prefer it to Whirlpool of Fate value staid theatricality over cinematic innovation.
Unfortunately for a work that relies so heavily on plot, neither the characters nor the standard "loose woman brings about the downfall of herself and several others" details are especially well developed. The broad (even for a silent) acting style further limits Nana's appeal. Overall, this film's reputation as Renoir's best silent baffles me and I can only assume that those who prefer it to Whirlpool of Fate value staid theatricality over cinematic innovation.