Anna Sten's Nana: Goldwyn's Big Bet Fizzles Out (Mostly)

So, Nana from 1934. Is it worth tracking down today? Maybe if you’re a real cinema history buff or super curious about Anna Sten's *big* push. Otherwise, it's a bit of a tough sell. If you like seeing how Hollywood tried to make stars back then, it’s a curious peek. But if you’re hoping for a gripping drama, you might find yourself checking your watch. 👀

You know how Samuel Goldwyn really wanted Anna Sten to be the next big thing? Like, his answer to Garbo. Nana was supposed to be *that* movie for her. You can almost feel the weight of all that expectation on her shoulders, even through the screen. It’s a lot.

She's absolutely gorgeous, no doubt. The camera loves her face in a few shots, especially those close-ups where she’s just staring into the middle distance. But sometimes, her acting feels a bit… studied. Not quite natural, you know? Like she's trying really, really hard.

Cole Porter even sang about Goldwyn teaching her diction! That tells you something. It’s almost like she was being constructed rather than allowed to just *be* this character.

The story itself, taken from Zola, has potential for real grit. But here, it feels a bit sanitized, even for pre-Code. It hints at scandalous things without really *showing* them, which is fine, but it leaves you wanting more. A little more juice.

Nana's rise feels a little too easy sometimes. One minute she's struggling, the next she's the talk of Paris, with men throwing money at her feet. There’s a bit of a leap there, and I wished they’d shown the *how* more. The audience needs to see her charm working, not just be told about it.

There's this scene where she's performing on stage. It's supposed to be captivating, her big moment. And she *is* pretty in the spotlight. But the whole thing feels a little… muted. Like the passion isn't quite there, or the audience's reactions are just a bit too polite.

Reginald Owen plays Bordenave, the theater manager, and he’s actually pretty lively. A bit of a scoundrel, but he adds some much-needed energy when he’s on screen. He felt like he was having a good time, at least.

And then there's Mae Clarke, who plays Sabine. She's got this spark that sometimes outshines Sten, just with a glance or a quick line. Makes you wonder. She gives a very different kind of performance, a bit more lived-in.

The sets are lavish, for sure. You can tell Goldwyn spared no expense. Those ballrooms look fancy, all gilt and big dresses. But the crowd scenes have this oddly empty feeling, like half the extras wandered off for lunch. It takes you out of it a little.

The whole thing feels a bit like two different directors were at play, which, well, they were (Dorothy Arzner and George Fitzmaurice). Sometimes it has a real flow, then it gets a little clunky. The shifts are noticeable.

I kept thinking about The Tempest, another film from around this time where Sten also featured. She felt more at home there, somehow. Less pressure, maybe? Or a role that fit her better.

There's a moment, very early on, where Nana is just looking at herself in a mirror. It’s quiet. You get a glimpse of something *real* there, a flash of ambition or perhaps a bit of sadness. I wish they'd leaned into that more. It was a fleeting, good bit of character work.

One reaction shot from a male admirer lingers *just* a little too long. You almost see him thinking, 'Is she *really* worth all this trouble?' It's a funny, awkward beat.

You can almost feel the movie trying to convince you this moment matters, but sometimes it just doesn't land. The emotional punch isn't always there, which is a shame for a story like this.

The ending feels a bit rushed, like they just wanted to wrap it up quickly. All that build-up, and then… poof. It’s over. It left me wanting a bit more resolution, or at least a slower fade.

So, is Nana a lost classic? Nah. It's a curiosity, a footnote in the story of a producer trying to mold a star. You see the effort, but the spark just isn't quite there. It's not bad, exactly. Just a bit… *meh*. If you watch it, pay attention to the little moments. Sometimes they’re more interesting than the big ones. 🎬