Die Hündin

With "la chienne",French cinema enters the pathway to genius.During the thirties,it will be one of the best in the world.In those ancient times,it used to walk from strength to strength,encompassing the most phenomenal innovations the seventh art had ever known.Opening and closing his film with a puppet theater,Renoir predates Mankiewicz's "Sleuth" prologue(1972) and countless others by decades.Punch and Judy,what a derision!

Renoir has begun his wholesale massacre;the bourgeois society ,the army ,the justice are his main targets.M.Legrand,whose spouse is a shrew,keeps a mistress,Lulu,(la chienne=the bitch)who doesn't care a little bit about him and who has herself another man in her life ,Dédé.This dandy sponges her off.Legrand and Lulu are actually longing for tenderness,but a society in which money and respectability run rampant leaves them with no chance at all.It's when he rebels against it that Legrand will find his way.His wife-shrew always compares him to his first hubby,a warrant officer killed in action during WW1?Never mind that,when the soldier comes back -he was actually prisoner in Germany-,Legrand gets rid of his missus!Now he thinks he can live with Lulu but he finds her in bed with her lover.Now Legrand will despise the rule of the game(that's Renoir's 1939 movie title).

SPOILERS.SPOILERS.SPOILERS. You've got to follow the pack.Legrand kills Lulu (as the precedent user has pointed it out,the scene is a model of film noir murder:we see nothing of the crime but a knife;the camera stays in the street,focusing on a busker,playing a heartrending tune on her violin,only showing the windows of the house.)When Dédé is accused of the murder,Legrand will not surrender:he used to be a respectable man,and he knows that the society will always be siding with the "moral ",and that it will be happy to condemn a lazy pimp.Renoir allows himself the most immoral ending you can think of,and in 1931,at that!

At the end of the movie,Legrand,who now thoroughly refuses the golden rules,has become a tramp.It's a tramp like this who will rise from the gutter to shake the bourgeois society in "la chienne" follow-up,"Boudu sauvé des eaux"(avoid the remake"down and out in Beverly Hills").It's no coincidence if Michel Simon plays Legrand and Boudu.These two works are Renoir at his most ferocious .

I do not know what else to add to the previous two reviews before mine. The movie begins as two puppets argue about the theme of the movie we are about to see. One swears it is a comedy. The other avers that it be a tragedy. Both are slapped out of the way by another who says it is neither. Let us be the judge. The tale of a sad sack bank employee who sweats his whole life in a job he hates and falls for a low-life woman has similarities to the Dietrich classic Blue Angel but this movie has bigger themes and issues on its mind. His hilarious deduction and situational comedy as the man tries to outwit his way out of his marriage and the calamity that befalls him diagnoses the gray line that is life. And the bitter sweet ending endorses that in life, we may not get what we want but we might revel in what we need; and true happiness is a figment of mere necessity. A wonderful movie that must be seem. P.S. For those who appreciate the art of movies, you cannot but marvel at the directional technique of Renoir. The man understands cinema. His transitional shots are sublime and ridiculous in a good way propelling the movie along. And a murder scene is so effectively staged, it reminds that it might have been executed by Hitchcock himself. Long live great cinema and great directors who enrich our empathy for it!!!

Jean Renoir's LA CHIENNE is an exhilaratingly nasty tale of a henpecked hosiery cashier's adulterous relationship with a manipulative prostitute, and the moral damnation that ensues. Noir aficionados will instantly make the SCARLET STREET connection but the unmistakable differences in execution and style render both of these masterworks sufficiently distinguishable.

Firstly, LA CHIENNE is more sexually charged of the two - evidenced by the explicit exhibition of its various on screen dalliances. SCARLET STREET on the other hand was shackled by the Hays Code where the furthest Edward G. Robinson's character gets is painting his mistress' toe nails. Restrictions of the production code notwithstanding SCARLET STREET is still the bleaker of the two and remains one of the hallmarks of classic film-noir, while LA CHIENNE benefits from its consistent tragicomedy tone.

Michel Simon is outstanding as the frustrated, love-struck painter who's almost destined to lose: he's domineered by his miserable wife when he's not being cuckolded and scammed by his deceitful mistress (and her scheming pimp boyfriend) and remains oblivious of the fact that he's merely a part-time lover but a full-time benefactor. EGR's rendition however was on a completely different level and had more psychological heft to it.

LA CHIENNE's visual aesthetic is loaded with quadrangular, window-framed, canvas-like compositions that not only resonate with the film's theatrical opening but also with the art produced by our protagonist. I also feel that it's too beautifully realised (or at least the restoration made it so) to be categorised as "noir" in the traditional sense and is devoid of conventional noir flourishes, rugged edges or pulpy vibes. Having said that it was undoubtedly instrumental in the proliferation of films that would come to be known as noir.

As an interesting aside, SCARLET STREET was not the only Lang venture that shared a literary source with a Renoir film; HUMAN DESIRE and the classic LA BÊTE HUMAINE also originate from the same Émile Zola novel.

The film opens with Guignol theater à la "Punch and Judy", the first hand-puppet presents a tale of social relevance, the second interrupts him by stating that this is a story making a moral statement about men's behavior but they're all contradicted by the third one, the master of ceremonies who insists that there's no hero, no villain in this story, it's just a sordid "love" triangle involving a "He", a "She" and "The Other Guy": a streetwalker named Lulu (Janie Marese), her boyfriend-pimp Dédé (George Flamand) and Maurice Legrand, the sucker, played by Michel Simon. What a gallery painted in black and white and infinite shades of human complexity by the great Jean Renoir, son of painter and impressionist pioneer Pierre-Auguste Renoir.

Maybe like his father, Renoir cared more for 'impressions' than actual realities, there are no villains not because they don't exist but because the perception is so fuzzy in the first place and the roles are switched as the plot moves forward, Legrand is a meek bookkeeper and Sunday painter of intellectual superiority but mocked by his peers and constantly bullied by his wife, a nagging and controlling shrew reminding him everyday that he's not the soldier hero her late husband was. Legrand has surrendered to mediocrity until he fell in love with Lulu, a light of hope. He took her as a muse while she was a leech, sucking out his love, dignity and money for her domineering pimp. Not personal but strictly business, unless by 'personal' we mean that she did it because she loved Dédé. That everyone is driven either by money or lust foreshadows the dark shortcomings of the film, the notion that everything has a price, and they'll all pay for their actions.

But again, there's no morale. This is just entertainment, a story starting upon the little theater of Paris, like so many others, we're not here to judge anyone but to witness the flow of events that will cause many people to act one against another acting according to their inclination toward greed and lust. This is the year 1931 and while not a revolutionary story, under the confident directing of Jean Renoir, you come to question why it is Orson Welles' "Citizen Kane" that is regarded as such a revolutionary film, even Welles would give Renoir the credit he deserves. The French director emphasized that "noir" syllabus in his name, with a main character who's resigned to a life of relative weakness to such a point it could almost pass as courage or wisdom, and that strength could only be expressed in awkward and disastrous ways.

Played by Janie Merese, Lulu is the pioneering femme fatale, a speaking version of the Woman from the City in Murnau's "Sunrise". But Renoir, almost defensively, claimed that all he wanted to do was to explore a film about a Parisian streetwalker, a job as respectable as any other because he was always fascinated by prostitutes, in a sort of naturalistic move à la Zola. And he also wanted a vehicle for Michel Simon who was then the rising star of French cinema. By making "The Bitch", he struck the two birds with the same stone and made a masterpiece for the ages, that would later be adapted by Fritz Lang in "Scarlett Street" with Edward G. Robinson.

But while Lang accentuated the pathos, Renoir conceals the darkness and keeps a certain distance toward the characters, as if he didn't want to overplay the feelings, there's not much pathos in the film, there's even a fair share of comedic moments, as if the whole thing was just tale of tragicomic intensity. He knew the acting of Michel Simon would carry enough emotions not to insist upon them and for his first major talking film, he wanted enough material to explore the actor's versatility. It is ironic that their following collaboration would explore the other side of the coin. Indeed, as Boudu, he'll play a larger-than-life optimistic man who rises above his modest condition because he's just too self-confident.That's the power of Michel Simon who defines the most extreme sides of cinema and can take you from pathetic to sympathetic in a blink of his deformed eyes.

I must admit I enjoyed Boudu a little more maybe because cinema, for its spectacular debut, needed such grandstanding characterizations, of histrionic waves but "The Bitch" is a superior film, technically and visually. Maybe it is too dark and modern for its own good, no matter how hard Renoir tries to tone it down. Or maybe the knowledge of the tragedy that surrounded the film created an unpleasant bias. Janie Marese died the night of the premiere, in a car accident. In real life, Simon loved the actress who loved Flamand, as lousy a driver as a boyfriend in the film, he wanted to drive his first car and impress his sweetheart, talk about reality being stranger and crueler than fiction.

Michel Simon later fainted in the actress' funeral, threatening to kill Renoir because he "killed" her. That's how much passion was injected in the film, the people were liars but they were sincere.What a tragic irony that fate revealed itself as ugly and twisted and wicked as the story, working like an antidote against criticism. These things do happen after all and life came to the rescue and give it a taste of tragic credibility, besides cinematic prestige.

If you're someone who likes the films of Jean Renoir this is a must-see – that's my highest praise. It's pretty essential in the history of French cinema too, although the keeping of it in perspective is now absolutely essential thanks to the onslaught of Time. As someone who has loved the works of Renoir all my life I don't know why it's taken me decades to get round to La Chienne - I've had it to watch for years, but at least I've finally managed it. Advice: don't leave it too long.

Timid art-loving bank clerk with a scold for a wife who carries a torch for her dead previous husband falls in love with a woman who carries a torch for her rather violent waster of a boyfriend. Everyone is on the make, everyone is dislikeable, and everyone gets what they deserve – with one apparent exception. Michel Simon as Legrand acted his heart out surrounded by the circling human sharks, both direct and in the case of all the art-dealers, indirect. In Boudu he became a rather shabby shark. Janie Marese also had an intensely realistic part in the Tart without a heart Lulu – a tragedy that she died in a car crash on the way to the film's premiere. The gleaming photography was inventive for the time, almost magical in its spareness, and you're utterly immersed the world of 1931 its atmosphere, its people and their mores. The sound was a bit primitive, but it is in real life.

Marvellous stuff - the realism is complete, it's either a human tragicomedy or not, or a simple dark moral tale or not or nothing at all, or not. Anyway, imho it's most definitely a perfect companion piece for the classic Boudu which was to follow the next year from Renoir.