At least three versions of Nana exist, all dating back to 1926, the year in which Jean Renoir made the film. The first version was presented at Moulin Rouge on 27/04/1926. The second release, in June 1926, was screened «en exclusivité» at the Aubert Palace in Paris. Again for Aubert, in December, Renoir made a third version of Nana, to be released in theaters throughout France. Restoration consisted in reconstruction of the Moulin Rouge version. The premiere of Nana was a bit tumultuous. I had prepared for it with an ad campaign. Hoards of posters of Catherine Hessling in the role of the main character carpeted the walls of Paris. Newspapers heralded the event. I had rented the theater of the Moulin Rouge, including its excellent orchestra. The theater was jam packed. The audience was divided into two opposing categories. On one hand, there were the supporters of classic cinema who, without knowing why, considered me a «dirty revolutionary». On the other, there were the representatives of avant-garde cinema who, also without knowing why, considered me a daring innovator. The screening went on over whistles and catcalls mixed with warm applause. People got mad and insulted one another. The wife of the most famous director at that time started screaming: «They’re Huns… This is a Hun film… Down with the Huns…». The premiere of Nana was just the beginning of what the history of my career would be. It’s my destiny to be caught between two fires: my viewers are either recalcitrant or enthusiastic.

Jean Renoir, Ma vie et mes films, Paris, Flammarion, 1974

Nanà brought the public, enchanted with outmoded charms, the madness of its era, luxurious and sumptuous sets, and the intelligent naturalism of scenes in which French cinematic art triumphs, honored by this work by M. Jean Renoir.


L. de Saint-Vilmer, in «La cinématographie française», n. 391, 01/05/1926