Although Jean Renoir’s La Règle du Jeu persists as a classic depiction of French society prior to WWII, this film was not as highly regarded by the audience at the time of its premiere as it is today by historians and film critics worldwide. In fact, when the film was released it spawned such public outrage and disgust that the French government banned it— as it was regarded to be “demoralizing” for the public. During WWII the film continued to be banned by the Nazi regime. Finally, after the war, Renoir was able to collect remains of several copies of his film in order to reconstruct it after the original was destroyed during the war. It was only then that both critics and audiences alike commended Jean Renoir for his film, which led to its being ranked as the second best film of all time in 1972 (it remains to hold this title).
Predominantly, La Règle du Jeu is a portrayal of the formalities and spontaneities of French society on the onset of World War II. For example, when Octave requests the invitation of Andre to Christine and Robert ‘s hunting party, he must first ask the lady due to her personal relations with Andre before asking her suitor, Robert. Its flawless illustration of the restraints of affluent society depicts the complexity of courtliness. Furthermore, the film exhibits the proletariat society as liberal and indulgent in its morals and lifestyles. This is evident in the character of Lisette; not only in her loyalty to Christine as opposed to her husband, Schumacher, but also in the manner in which she flirts with Marceau around the table. But above all, if the viewer had not previously found the stark description of French society, the closing scenes somewhat parade these notions. While the affairs of Christine and Octave unfold behind closed doors, Schumacher, enraged by the flirtations between his wife and Marceau, recklessly hunts Marceau throughout the party. The guests, all members of the social elite, fail to acknowledge Schumacher’s hunt, though it occurs just outside the castle. The desperate secrecy of Schumacher’s violent act of vengeance builds upon the theme of this society’s strict proprieties.
Overall, I found La Règle du Jeu to be a vital piece of French cinema that captures and encompasses the essence of its early years. Through watching this film, I could not help but admire Renoir’s innovative style in respect to the year of its release, 1939. Renoir included several tracking and panning shot in a conscious effort to allow the viewer to become the unseen guest and thus, he or she is able to examine all aspects of the scene. I must mention my favorite scene where Christine demands that Lisette retrieve her lipstick, that which Lisette argues it does not flatter her nor does it appear natural. Christine replies simply by asking, “What’s natural these days?” To add to his realistic element, Renoir allowed himself and those involved to improvise throughout the filming; Renoir explains this choice best himself, “Yes, I improvised quite a bit: the actors are also the film’s authors, and when they work, they sometimes produce unanticipated reactions. These reactions are often very good, and I would be crazy not to take advantage of them” (Rivette and Truffaut, p.4). Without these successful attempts to create an atmosphere that intrigues the viewer and forces he or she to involve his or herself in the unfolding plot, this film, in my opinion, would be incomplete. Renoir was a pioneer of film; a visionary so far ahead of his time, he was forced to patiently wait for the public to mature in order for his film to receive the praise it deserved.
