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Jean RenoirForgatókönyvíró:
Jean RenoirZeneszerző:
Joseph KosmaSzereplők:
Nora Gregor, Paulette Dubost, Mila Parély, Odette Talazac, Claire Gérard, Anne Mayen, Lise Elina, Marcel Dalio, Julien Carette, Roland Toutain (több)Tartalmak(1)
THE RULES OF THE GAME is a devastating satire of the pre-WWII French aristocracy. Starring Marcel Dalio as wealthy landowner Marquis Robert de la Chesnaye, it charts the shifting relationships among the guests at a weekend hunting party on his vast estate. The guest list includes Robert's mistress Genevieve (Mila Parely), from whom he's trying to part, and Andre Jurieu (Roland Toutain), a famed aviator who is in love with Robert's wife, Christine (Nora Gregor). As they begin a dizzy dance of escape and pursuit, their games are observed and echoed by the servants below the stairs. The gamekeeper Schumacher (Gaston Modot) is trying to keep the poacher, Marceau (Julien Carette), from poaching on his pretty wife, Lisette (Paulette Dubost), unaware that his boss also has his eye on her. The passionate Jurieu, the only guest incapable of the appropriate hypocrisy, finds Christine in an embrace with a random lover (Pierre Nay), and the startled woman decides to leave Robert and go away with the aviator. (forgalmazó hivatalos szövege)
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A beautiful, satirical comedy that knows exactly when to strike. Jean Renoir was such a brilliant filmmaker that he managed to keep control over this and presents us with high society and all its character traits, which deserve criticism. Renoir could have been even more striking, even more cruel, but this performance is enough.
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Sometimes there is a thin line separating overrated works and masterpieces. Chosen by film experts again this year as one of the ten best films of all time, The Rules of the Game comes across as stale and – though I don’t like to admit this about any film – boring. Renoir’s humanism doesn’t fit with the cynical, hypocritical and affected members of the bourgeoisie. Rather than being critical, the tone of the film is conciliatory; rather than satire, The Rules of the Game is reminiscent of a Clair-esque madcap comedy, which suddenly breaks down into a serious drama at the end. If I show leniency in evaluating Renoir’s ambitious (the film was a flop despite its large budget), lengthy and repetitive project, that is because of its formalistic aspect. Renoir’s work with multiple image planes, in which something or someone is usually in motion, does not distract the viewer’s attention, but sharpens it. Meanings are not formed through editing, but with the camera itself, without our assistance. The Rules of the Game manages to keep us on our toes with flawlessly organised entrances and exits of the characters. If that’s not enough for such a celebrated film…well, maybe it is. 75%
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