La regola del gioco

A weekend party assembles at the château of the Marquis de la Chesnaye. Among the guests André, an aviator, is in love with the Marquis's wife, Christine; the Marquis himself is conducting an affair with Geneviève; Octave, an old family friend, is also secretly in love with the Marquise. Meanwhile a poacher, appointed servant by the mischievous Marquis, comes to blows with the gamekeeper over the latter's flirtatious wife.

The set-up may remind one of The Shooting Party or Gosford Park, but the debt is naturally in the present film's favour. Rather, the upstairs-downstairs intrigue, the mingling of comedy with drama, and the setting prior to cataclysmic social/political change owe much to Beaumarchais's Le mariage de Figaro. Which explains the hostility of audiences and government alike on the film's release; it was cut, then banned outright, and not reconstituted until well into the 1950s.

To tap the source of the disquiet aroused by this superficially fluffy piece of bedroom farce ('Surely just the French doing what they do best?'), one must look beyond the typical observation that it was 'socially insidious because it was a clear attack on the haute-bourgeoisie, the very class who would shortly lead the troops against the Germans'. The auto-critique goes deeper than that.

Consider. The lower orders are no better than their irresponsible masters: the women are no less immoral, the men just as concerned to preserve their foreheads from cuckoldry. This is the culmination of Figaro's contract with the Count: he enjoins the latter to behave like an honest man, as befits his station; two centuries later, not only has the nobility welshed on the deal, it has brought the servant classes down with it. Renoir serves up for the French a portrait of a society which is rotten from top to bottom. 'The Rules of the Game' are: keep up appearances, and somehow the whole charade will be preserved indefinitely (barring Adolf and his Panzers, that is).

André, the aviator, the crosser of the Atlantic (distance, perspective), is the one who threatens the edifice. Being Christine's lover is not enough; she must elope with him, it must be 'honest'. If she does this she will be showing that feelings matter more than money and position. The choice is too much for her and she runs for cover with Octave, and thus sets in motion the mechanism by which everything ends in tragedy but the status quo is maintained, for now.

The working out of this theme in Renoir's hands leads to some striking juxtapositions of tone. Renoir the 'humanist', like Octave whom he plays, was a lover, and forgiver, of humanity. It was not in him to condemn without affection. In one scene the gamekeeper chases his rival through the drawing room discharging a pistol, while the guests barely look up from their cards: he is merely playing by the rules, after all. It was perhaps the coexistence of farcical sequences like this with the wanton slaughter of wildlife in the hunt scene that audiences found hard to take. Renoir himself wrote: 'During the shooting of the film I was torn between my desire to make a comedy of it and the wish to tell a tragic story. The result of this ambivalence was the film as it is.' Amen.

One of the ways in which a film of some age can be immediately identified as great is that we do not really notice that it is old. The same elements that attract us contemporarily are as quickly noted in the landmark movies of yesteryear. So it is with `The Rules of the Game', Jean Renoir's flamboyantly provocative study of class distinction and human folly.

Long heralded as one of the great films of all time, it is of such complexity and has so much great dialogue that in fairness it should be viewed several times. There are so many complex shots and methods of capturing moments that one might discover a new item with each visit. These arrangements run the gamut of half a dozen actors criss-crossing the scope of a shot or the use of mirrors to perhaps focus our attention on something Renoir wants us to appreciate or tuck away for later rumination.

As the movie opens, Lise Elena (as the on-the-scene radio reporter) is perfect in conveying the energy and attention/attraction a record-setting Trans-Atlantic flight would have attracted at the time; the drama of the moment as pilot André Jurieux (Roland Toutain) lands amid pandemonium is caught exactly as it might occur. Renoir is giving us a hero that we almost immediately find is flawed and does not stand up to close inspection, as do none of the great political figures of that time. As the film progresses the hero Jurieux is found wanting in every regard, as it turns out.

Paulette Dubost (as the maid, Lisette) is introduced early as attendant to a key figure - Christine de la Cheyniest (played by Nora Gregor) – and is so heartbreakingly pretty even watching her eat an apple is a guilty pleasure. Christine turns out to be the hub of a wheel of fascination, deception, and unrequited love yet herself is only as exotic as her foreign background. This Mutt and Jeff pairing is nicely shown in drawing room scenes as the high-society semi-charmer is fawned over by the lovely Lisette.

The players intermingle primarily at the chateau of Christine's husband Robert (played by Dalio) and what unfolds is a tale that documents the excesses of both classes. We might say we see a series of interpersonal clashes amidst clueless-in-love slackers with the occasional agenda-wielding guest thrown in; but all this is recorded with just the right touch of realism. So we find that Christine's heart may well lie with the adoring Jurieux, that Lisette is not exactly pining for her gamekeeper husband Schumacher, Robert's lover is not sure of her need for him (or he of his feelings for her) and throughout poor Octave remains a stolid yet curiously uncommitted friend to all.

The only aspect of the film that does not come across well is the sometimes overly hammy acting of some of the players. But with the exception of Renoir himself (playing Octave) this over-the-topness comes in fits and starts, never overwhelming us at all. Renoir's Octave could have been played by Jackie Gleason to great effect.

Very noticeable to current viewers is the great similarity of the more recent `Gosford Park' to this 1939 Jean Renoir film. While Robert Altman's film focuses on class differences so piquantly, `Rules' is actually more sublime. But that hanky-panky and its inevitably hurtful consequence knows no class – despite `Rules' – could not be more fascinating than the depiction given it by Renoir in this film.

Rating: Four Stars.

There's a food chain where the top is filled with crass, it's the opposite of cream, more septic mass, quite immoral and corrupt, degenerate and so abrupt, they have their rules, behave like mules, with necks of brass. You'd like to think these folk, had long since gone, but they're more common in today, so you'd be wrong, like leaches sucking blood, symbolically, they're all deadwood, but their claws are buried deep, so they hang on.

The decadent lives of those who have found themselves fat with inherited wealth and power, and the disdain they and their hangers on have for the rest of society in a world that still exists today.

Let it be said once more that The Rules of the Game is an astounding achievement: an all-around entertaining and insightful look at early 20th century French bourgeois and their efforts to find peace, love and happiness. It was not well-received at the time of its release, which was the eve of World War II, but it holds up today as one of the great films in cinema history. This may be for two particular reasons: the incredibly fluid and masterful camera work and the very witty and humorous screenplay.

Although these certainly are valid reasons to praise this film, perhaps the greatest achievement Renoir was able to accomplish here was his insightful look at human nature. While able to break down the social walls that seemingly separate the upper-class from the lower, this film brilliantly showcases all people as being at times complacent, duplicitous, arrogant, jealous, flirtatious and a flurry of other feelings and emotions that color life the way it is. No one is above the law or the 'rules' that should be implemented. It has been concluded by several that there are only three characters here that actually adhere to these so-called 'rules': the young aviator, the rejected groundskeeper and the Jewish aristocrat presiding over this weekend getaway. Though they may attempt to remain faithful and hold their heads proudly, their own conflicting arrangements and desires get in the way, allowing for a most confusing and breathtaking conclusion.

The final 20 minutes of this film is truly something to witness. It is a sparkling achievement of memorable acting, the best camera work possible and dialogue and scenarios that cannot ever be imitated or improved. Words escape me in actually describing the beauty and greatness of it all. Suffice it to say that this is certainly required Renoir viewing as well as film history. Many subsequent great directors, including Orson Welles, Robert Altman and a plethora of others were inspired by Renoir and his uncanny look at humanity. That view is never more clear or as pointed as in The Rules of the Game.

A satirical dive into the superficial lives, social pretences & moral depravity of the French upper-class society, The Rules of the Game (La Règle du Jeu) is a romance, comedy, tragedy & social critique, all mingled into one fluid, farcical & fascinating delight that seamlessly traverses from one eventful situation to another, and gets added assistance from its technically sound production.

Co-written & directed by Jean Renoir (La Grande Illusion), the story intersects the lives of the riches & their servants spending a weekend together at a chateau and unravels the drama brewing between them with both spontaneity & smoothness. Without disturbing the film's fun, lighthearted & free-flowing mood, Renoir takes a jab at this close-knit society & the morally bankrupt set of rules it functions on.

One of the film's highlight is the sublime camerawork that effortlessly navigates from one character to another, and by employing deep-focus it keeps its viewers aware of all that unfolds in foreground & background. The characters aren't that interesting but the performances are nonetheless impressive from the ensemble cast, all portraying their respective roles with conviction and not leaving much to complain about.

Overall, The Rules of the Game is an exquisitely layered social commentary that takes an incisive swing at the upper-class clique that lives by a set of rules yet is devoid of morals & values. Steered by Renoir's solid direction & rich storytelling, and furthermore benefiting from fab work in the technical & acting department, this French classic makes for an amusing & entertaining ride, and still somewhat lives up to its legacy. Definitely worth a shot.