Partie de campagne

When I see lists of the supposed 'great films', I often wonder some films makes these lists and others do not. Two films that often make such lists and make professional reviewers drool are a couple shorts which I'm not even sure belong on any such list--since they are SHORT films! While good, the films seem to be considered among the greatest works of art as well--and I just don't get it. Both films are French and I have no bias against French films--in fact, French films are probably my favorite of all the international cinema. But, I still can't see why "Zero for Conduct" and "A Day in the Country" are considered such amazing films--especially "Zero for Conduct". Yet, I know that many sophisticated people would immediately assume I'm a Neanderthal for not loving these films!

As this review is specifically about " A Day in the Country", I'll confines the rest of my comments just about this particular short. I see that it's currently rated 8.2 and as I said above, makes many 'must-see' lists. While I might agree that it should be on a list of the top 100 shorts, you can't seriously compare it to a full-length in my opinion for many reasons. First, the film seems like a fragment--without the completeness or structure you'd find in a 'normal' film. Second, director Renoir himself intended to make a full-length film but only stopped part-way through the project because of time constraints--there was too much rain and he had to wrap up filming! While I think another film, "Fitzcaraldo" is a bit overrated, at least Werner Hertzog went to hell and back to get this incredible film made--yet Renoir gets a pass when he just calls it a wrap!

So is this a bad film? Certainly not! In fact, it's one of the most artistically satisfying shorts I've ever seen. The combination of music, great camera work and restrained acting make this a lovely piece of art. But, with a woefully incomplete story and not much plot, I just can't take the film as serious as some have. Good, yes. Great, no. It's well worth seeing--just don't try to convince me it has achieved greatness or should be compared to traditional films.

Just how unfinished "Partie De Campagne" truly is remains something of a contentious issue. There are countless differing theories and opinions, some of which seem to have been instigated by the director himself. There are those, this reviewer included, who believe Renoir originally intended this film as one-half of a double feature of Guy De Maupassant adaptations. Whatever might have once been planned, however, does nothing to soften the radiant beauty and brilliance of the film.

Renoir had collected around himself a group of friends and family in the hope of creating what he later described as a "holiday" atmosphere during the scheduled week of filming. In accordance with the story on which it is based, long summer days and balmy afternoons by the river banks were called for in Renoir's script. Unfortunately, the cast and crew were faced with a damp, dismal July which continued long into August. Cramped up in the lobby of the hotel, sheltering from the storms outside, personal tensions and rivalries soon inevitably surfaced. With the months continuing to pass and little to show the financial backers in the rushes, money became scarce. Eventually, after refusing Sylvia Bataille's request for leave so she might audition for a future project in Paris, the director himself nonchalantly announced he would be abandoning the film to concentrate his efforts on his next film, Les Bas-fonds.

Considering all of the above, it is miraculous that the film we see today is such a luminous, sensual masterpiece.

Much is made of Renoir's use of deep focus techniques in films such as Le Regle de Jeu and La Grande Illusion, quite rightly so, but it is also used to great effect in this film. The film's early scenes largely take place inside a rural inn. Renoir keeps the camera mostly in one place, stationary. Then, suddenly, a window is opened; light floods in, we see trees, a breeze blowing lightly through grass, a young woman and her mother arcing high into the summer air on swings. Now we cut to a close-up of the girl, with the camera fixed to the swing, an accomplice to her every movement. She is laughing, ecstatic, exhilarated by her surroundings. It is an exhilarating moment in cinema, the sudden infusion of life and nature into the film echoes in the viewer's mind throughout the short running time.

Renoir is a great film-maker, perhaps the greatest of all, and this is a great film, perhaps his greatest of all.

This movie is a beautiful looking one and is like a day in the life of of a family on their summer holiday on the countryside, somewhere in early 20th century France.

The movie is filled with some unexpected contrasts and metaphors. The movie in now way can be called a formulaic one and it picks its own path with its story. This ensures that the story is both realistic as well as unexpected in parts.

The way how the movie ends is in large contrast with the rest of the otherwise happy and cheerful beginning of the movie. It has a summer holiday look and feeling over it, in which the main characters, from the big city, are obviously enjoying the beauty and quietness of the country life. You would expect the love story to unravel as a romantic one but the romantic first encounter really doesn't go as often gets portrayed in movies. I must say that the movie is just like life and it doesn't try to bloom things. But perceptions differ, as can be also seen in the final sequence of the movie, in which the events of that one summer day in the country left a big lasting impression on the girl.

What Jean Renoir does really well is capturing the right mood and atmosphere of the movie. Even though I obviously wasn't around in 1936, it still feels all very familiar and pleasant. Of course the movie gets helped by its country side environments, which gets captured perfectly on camera.

Not all of the actors were real experienced professionals, which can be seen back in their performances but overall this shouldn't trouble you to much, since Jean Renoir perfectly knows to tell the story with its images and character behavior, rather than relying completely on the actor's skills.

I wouldn't go as far as calling this Renoir's best but it's nevertheless a great, humble, realistic, honest, warm portrayal of life.

8/10

http://bobafett1138.blogspot.com/

Although "A Day In The Country" is a lovely, lyrical film I was disappointed to learn that it was never completed. Indeed, there is a gaping hole toward the end of the film which, if finished, could have answered some plot questions. And so, we must draw our own conclusions and try to fill in blanks. As you would expect, it mars the final product.

As is, it is a snippet of life fleshed out by the master director Renoir. Human feeling seems to be his strong point, humanity in all its strengths, shortcomings and foibles as illustrated by his depiction of a family picnic in the country. We are eavesdropping on them, almost. I wish he could have finished it.

Partie de campagne (Jean Renoir, 1936) is one of the great unfinished films. Usually such projects exist in tantalising snippets because a director snuffed it before realising his vision, or failed to get a movie off the ground due to short-sighted financiers. In this case, Renoir quit because it kept raining. Admittedly it rained for much of a six-week shoot, but even so... Happily, the 40-minute Partie de campagne doesn't seem unfinished, with an intriguingly-paced three-act structure that works just fine and a heady summer atmosphere that stands as perhaps the most inspired example of its director's quiet lyricism. It's an often breathtaking pastoral film, creating a fully-realised rural world a la Tol'able David and Louisiana Story into which to throw our protagonists.

Sylvia Bataille is Henriette, a Parisian girl who decamps to the countryside for the weekend with her parents, her grandmother and her fiancé. There, she and her mother (Jane Marken) encounter a prospective-family-man-cum-intense-romantic and his caddish mate, who sweep them off their feet and onto a pair of rowing boats. But this is 19th century France, and the ties that bind won't slacken just because someone's fallen in love.

The film is gentle, entertaining and sometimes very funny, benefiting from superb performances by Bataille, Marken and young romeos Georges D'Arnoux and Jacques B. Brunius, a luscious musical score composed for its 1946 release and Renoir's effortless, transcendent handling of the material. Its coda is absolutely heartbreaking: the perfect wrap-up for a film that's shot through with unshakeable conviction and a tangible love of the countryside. Renoir's fondness for Bataille's expressive, elfin face is just as obvious - he would return to it later the same year in his fascinating serio-comic polemic Le crime de Monsieur Lange. A set piece here that sees her guilelessly embrace the pleasures of a swing is slight but somehow unforgettable. Elsewhere, Renoir's script matches the exalted treatment, encompassing as it does themes of nostalgia, teary joy and the essence of being.

But Partie de campagne does have one - perhaps major - flaw, so bizarre as to be unintelligible. That's the presentation of the father and the fiancé, Anatole, as music hall imbeciles. The younger is particularly ridiculous, resembling a young Stan Laurel as he repeatedly squawks and wobbles his bottom lip. For that matter, the dad looks not unlike Oliver Hardy. Really odd. Perhaps Renoir, adapting Guy de Maupassant's novel, is making a satiric point about the unredeemable unsuitability of the young couple, or the ineptitude of Parisians cast adrift several miles from the big city, but it's a directorial decision that's never really justified.

Still, that's the only gripe about this amazing piece of work, which largely hums with brilliance and ultimately stands shoulder-to-shoulder with La grande illusion as the director's greatest achievement.

Trivia note: That's Renoir himself as the restaurateur, Poulain.