 Albert Dieudonné would direct the film.Renoir devised for Hessling a very stark, exaggerated look, with the mouth and eyes a penetrating black against white facial make-up, which was again used in his first full-length film "The Whirlpool of Fate", and the lavish and costly adaptation of Émile Zola's "Nana" (1926), in which Hessling's performance has been described as characteristically stylised and unsubtle, yet appropriate for this role.Hessling appeared in three more Renoir films before the couple separated in 1931.