Partie de campagne

My prep school could hardly be described as being particularly sophisticated or advanced regarding the arts but at some point I benefited from a projected showing of Renoir's Une Partie de Campagne and the beautiful, romantic, sentimental and sad imagery and story got under my skin and has remained there ever since. I probably saw it when I was nine years old and I am now thirty five. I haven't seen it since but I can still see moments and sequences clearly in my minds eye. Certainly a child is a blank canvas and liable to be more influenced by something than an adult - I am just glad that amongst all the rubbish I was exposed to, someone thought fit to show something this beautiful to me at that moment.

A 40 minute fragment of an unfinished movie which Truffaut describes as a cinematic short story, about a picnic in the country.

Renoir movies are always idyllic visually - like beautiful cinematic paintings, but Partie de Campagne is particularly idyllic. For some reason Renoir really wanted us to feel that we were in the country. This is his most visceral movie: he really takes you into the landscape in a way he does not usually do. Usually we merely sit back and admire it - here we are shown some gorgeous images of rain on the stream from the view of a boat on the water. The bottom half of the frame is virtually in the water we're so close to the action.

My favourite parts of Renoir movies are when he goes out on location (which he did quite a bit) and shoots wonderful scenes in nature. Here we have forty minutes of pure natural beauty (with a group of characters added for colour). I'm not sure that if Renoir continued with this project it would have retained enough interest over a two hour length - most likely its merely the central episode of a movie. Like Kubrick, Renoir made his movies up from several big, beautiful chunks. This applies most to Grand Illusion, so perhaps this sequence would never have been intended to supply enough dramatic interest for an entire story, but for lovers of Renoir, here are some of the most beautiful things he ever filmed. If you've never seen a Renoir film, the first experience is always the best, and it might be spoiling you if you start with this one, but it would be a beautiful introduction to him.

Unfinished,this is a one of Renoir's most remarkable works.As far as Guy DE Maupassant is concerned,only Max OPhuls's "le plaisir"(1951) and Christian-Jaque's "Boule de Suif" (1950)equal it.

This is apparently a very simple story:a couple of bourgeois (Jane Marken and Gabriello) ,their daughter (Sylvia Bataille) and her less-than-handsome husband leave for a day in the country (title).There the young girl meets love ,short-lived happiness.

Beneath the placid surface,tragedy emerges.The beautiful landscape,the simmering water,the whispering grass,the swings which seem to reach for a pure sky,the small fish you savor in the guinguettes down by the river,the thrill of it all!The young girl's longing for true love is harder to endure in such a peaceful paradise.This is one of these rare movies in which you experiment happiness tinged with an infinite sadness.

A whole sequence is missing:a card explains the events which were not filmed.Sylvia Bataille's last line(to the man she fell in love with) will make you cry out:"I've been thinking of it every day".Woman has always been sacrificed in Maupassant's work.At a running time of 40 minutes,a lot of people claim it for Renoir's best though.I do.Claude Renoir marvelously conveys Maupassant's depictions with his pictures.

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.