The Five Best Jean Renoir Films

My movie blogger friend Richard Finch recently started a Facebook Group on Foreign Film Classics. That inspired me to come up with a "Five List" list for my favorite foreign-language film director.

1. The Rules of the Game (La Règle du jeu) - Best described as a "comic tragedy," Jean Renoir’s 1939 masterpiece focuses on three themes: the relationship between and among the frivolous upper-class and their servants; the complex emotions between men and women; and the boundaries and expectations of society (the "rules of the game"). I first saw it in a college film class in the 1970s and it left a lasting impression. Although some contemporary audiences may find parts of it dated, it’s easy to see why critics often rank Rules alongside Citizen Kane as one of the greatest films ever made.

2. A Day in the Country (Partie de campagne) - Renoir began shooting this film in 1936, but bad weather delayed the production to the point that the director abandoned it. Ten years later, his film editor and lover, Marguerite Houllé-Renoir, edited the remaining footage into a 40-minute film. I'm not sure of Jean Renoir's original intentions, but I can't imagine how a longer running time could have improved this lyrical ode to fleeting love. It's probably the closest he came to capturing his father Auguste's Impressionist paintings on celluloid. The simple plot follows a working-class family's outing to the country. While the father and son fish, the mother has a carefree fling and the daughter experiences deeper emotions that will linger through the years. My only regret is that it wasn't shot in color.

3. The Crime of Monsieur Lange - When a ruthless publisher fakes his death and disappears, the company's remaining employees form a cooperative to carry on the business. A meek clerk, Amédée Lange, encounters great success with his Western pulp novels about Arizona Jim. He and the publisher's former mistress also fall in love. Life is wonderful--until then the "dead man" unexpectedly reappears. A deceptively complex film, The Crime of Monsieur Lange was considered controversial at the time because of its politics (the cooperative representing Communistism) and the ending (no spoilers here). However, my fondess for the film owes more to its charm, Renoir's use of the courtyard setting (foreshadowing Rear Window?), and the cinematography (highlighted by a stunning, for the time, camera shot at the climax).

4. French Cancan - Renoir's celebration of show business is rightfully noted for the director's brilliant use of color. The vivid images seem to burst from the screen or, as Francois Truffaut wrote more concisely: "Each shot in French Cancan is a popular poster...with beautiful blacks, marooons, and beiges." As for the story, it follows a music hall impressario named Danglard (Jean Gabin) who creates Moulin Rouge. Danglard uses people to create his vision, particularly the young impressionable women that he molds into stars. He could have been an unsavory character, but veteran actor Gabin applies his extensive charm to the part. He convinces us that Danglard loves the theater above all else and that, in the end, his motives are justified for the sake of art.

A colorful set from French Cancan (1955).

5. La Bête Humaine (The Human Beast) - Film noir had yet to defined in 1938, but Renoir's dark tale of a disturbed railway worker manipulated by a femme fatale into a murder plot certainly meets the genre's criteria. In fact, the source novel by Emile Zola also formed the basis for Fritz Lang's classic 1954 noir Human Desire. Renoir's original stars Simone Simon as Séverine, who is seduced by her godfather, forced by her husband to participate in homicide, and then sleeps with the railway worker (Gabin). It's a tour de force performance for the actress known to American audiences mostly for Cat People. However, it's the film's fatalism that makes La Bête Humaine so haunting.

Honorable Mentions:  Grand Illusion (which ranks #1 or #2 on most Renior lists); Boudu Saved from Drowning (remade in the U.S. as Down and Out in Beverly Hills); and The River.

How Sight & Sound Fueled the "Greatest Film" Debate

These days, it has become standard practice for film organizations and film-related magazines to publish their picks for the greatest films of all time. A representative sample includes the American Film Institute (which has published two lists since 1998), Time magazine, IMDb, Total Film, and AMC. There was a time, though, when the "greatest film" debate was limited to friends discussing the topic over coffee. That changed in 1952 when the British magazine Sight & Sound published its first poll of the "greatest films of all time."

Sight & Sound was first published in 1932 and became an official publication of the British Film Institute in 1934. Although well-respected among film scholars and fans, the magazine didn't gain international fame until 1952. That year, it asked an international group of critics, programmers, academics and distributors to each compile a list of the best movies ever made. The results were tabulated and the following Top 10 "Greatest Films of All Time" list was published:

1. Bicycle Thieves 

Vittorio De Sica's Bicycle Thieves.

2. City Lights 
2. The Gold Rush 
4. Battleship Potemkin 
5. Intolerance 
5. Louisiana Story 
7. Greed 
7. Le Jour se leve 
7. The Passion of Joan of Arc 
10. Brief Encounter 
10. La Règle du jeu (aka The Rules of the Game) 
10. Le Million 

This first list reflects a strong European influence with six films made by French, Italian, and Russian directors (and I'm not counting Greed, which the Austrian-born Von Stroheim made in the U.S.). Although there are five American films, it's interesting to note the complete absence of Hollywood "talkies" (although Citizen Kane and The Grapes of Wrath just missed out on the tenth spot).

The most unusual choice is Robert Flaherty's documentary-like Louisiana Story (1948), which chronicles the life of a young Cajun boy. Although well-reviewed and Oscar-nominated for Best Original Story, the film is mostly forgotten today (with Flaherty's fame resting with Nanook of the North).

Surprisingly, the list also includes other then-recent films Bicycle Thieves (1945) and Brief Encounter (1945). The oldest film earning a spot was D.W. Griffith's Intolerance (1916).

Sight & Sound would not conduct another poll until 1962, thus establishing the practice of a revised "Greatest Films" list every ten years. This edition crowned a new #1 with Orson Welles' Citizen Kane claiming the top spot. It would remain there for the next 50 years!

1. Citizen Kane 
2. L'avventura (aka The Adventure)
3. La Règle du jeu (aka The Rules of the Game)
4. Greed 
4. Ugetsu 
6. Battleship Potemkin 
7. Bicycle Thieves
7. Ivan the Terrible 
9. La Terra Trema 
10. L'Atalante 

Despite the presence of Welles, international filmmakers dominated the 1962 and 1972 lists which featured the works of Michelangelo Antonioni, Ingmar Bergman, Jean Vigo, and Federico Fellini as well as holdovers Sergei Eisenstein and Jean Renoir.

Classic Hollywood had its best showing in 1982 when filmmakers Alfred Hitchcock, John Ford, and Gene Kelly & Stanley Donen joined Orson Welles and Buster Keaton.

1. Citizen Kane 
2. La Règle du jeu (aka The Rules of the Game)
3. Seven Samurai 
3. Singin' in the Rain 
5. 8½ 
6. Battleship Potemkin 
7. L'avventura 
7. The Magnificent Ambersons 
7. Vertigo
10. The General
10. The Searchers 

Over the next 40 years, Sight & Sound continued to publish a new "Greatest Films" list every decade and even added a "Directors' Top Ten Poll" in 1992. Still, the plethora of other lists began to dilute the interest surrounding each new poll. That changed in 2012 when the Sight & Sound poll made headlines after Vertigo finally knocked Citizen Kane from the top spot. The 2012 list (which is naturally the latest one) consisted of:

1. Vertigo 
2. Citizen Kane 
3. Tokyo Story 
4. La Règle du jeu (aka The Rules of the Game)
5. Sunrise
6. 2001: A Space Odyssey
7. The Searchers
8. Man with a Movie Camera
9. The Passion of Joan of Arc
10. 8½


It's interesting to note that Jean Renoir's 1939 masterpiece La Règle du jeu is the only film to appear on every poll from 1952 to 2012. Starting in 1962, it has never ranked lower than #4--which is pretty amazing.

I know a lot of people who scoff at "greatest" lists, which--like the Academy Awards--represent the opinions of a relatively small group of people. Personally, I enjoy them if only because they encourage debate (for the record, I'm good with Vertigo in the top spot since it's my 2nd favorite film).

And, as "Greatest Film" lists go, the Sight & Sound one remains the most revered. In a 2002 article on the latest Sight & Sound poll, Roger Ebert wrote: "Because it is world-wide and reaches out to voters who are presumably experts, it is by far the most respected of the countless polls of great movies--the only one most serious movie people take seriously."

My Favorite Films: From 70 to 61

Last month, I covered 80-71 of my favorite movies. This month, the countdown continues with an eclectic mix of films ranging from a B-mystery to a famous film noir with everything—a French classic, a George Stevens’ Western, jungle natives, and Spencer Tracy’s final screen appearance—in between. (An underlined title means there's a hyperlink to a full review at the Cafe.)

70. The Scarlet Claw - One of the best of all Sherlock Holmes films, this smart little mystery finds Holmes and Watson chasing a “phantom” over the marshes of Canada. The murderer, a former thespian, is a master of disguises—which sets the stage for several tense sequences. Nigel Bruce adds just the right amount of humor in this one and director Roy William Neill keeps the atmospheric proceedings moving at a snappy pace. This is easily my favorite Basil Rathbone Holmes film, to include the more expensive 20th Century-Fox pictures.

Roland Toutain and Jean Renior.

69. The Rules of the Game - Best described as a "comic tragedy," Jean Renoir’s 1939 masterpiece focuses on three themes: the relationship between and among the frivolous upper-class and their servants; the complex emotions between men and women; and the boundaries and expectations of society (the "rules of the game"). I first saw it in a college film class in the 1970s and it left a lasting impression. Although some contemporary audiences may find parts of it dated, it’s easy to see why critics often rank Rules alongside Citizen Kane as one of the greatest films ever made.

68. The Road Warrior – Originally called Mad Max 2¸ this sequel surpasses the original in every way. Whereas 1979’s Mad Max drowned in a bleak view of a post-apocalyptic future, The Road Warrior creates a mythic portrait of its hero and presents a world with a glimmer of hope. It also doesn’t hurt that it features some of the most exhilarating chase scenes ever filmed and a star-making turn by Mel Gibson. It’s a near-perfect action film and the thematic parallels with Shane (see below) don’t hurt either.

67. Guess Who’s Coming to Dinner – It’s easy to find flaws in this not-very-controversial film about a young interracial couple who plan to marry despite the objections of both sets of parents. I suppose that audiences in 1967 might have been more shocked if the groom-to-be wasn’t a handsome, educated do-gooder played by Sidney Poitier. But even if it’s simplistic, this last pairing of Spencer Tracy and Katharine Hepburn is a heartfelt, impeccably-acted tale of love and understanding. It always leaves me with a good feeling.

66. The Naked Prey – Cornel Wilde (who also directs) plays an unnamed jungle safari guide who works for a cruel ivory hunter. When the ivory hunter offends a tribe of natives, the members of the hunting party are killed or captured and tortured to death...except for Wilde. He is stripped and sent into the veldt, with a slight head start and a group of warriors in hot pursuit. The rest of the film is a brutal saga of survival, as Wilde struggles to find food and water in addition to fending off his ever- present pursuers. Not for the squeamish, this unique action film relies on visual storytelling with minimal dialogue.

65. The Dirty Dozen – A recurring motif among my list of favorite movies is what I call the “Robin Hood theme” in which disparate characters come together to form a team. I don’t know…there’s just something entertaining about watching a bunch of folks bond en route to saving a village, overthrowing an evil prince, or defeating the Nazis. That leads us to The Dirty Dozen, which finds the defiant, but effective, Major Reisman (Lee Marvin) faced with a dubious mission on the eve of D-Day. He must train twelve hardened military convicts to go behind enemy lines and assassinate a group of German generals cavorting in a well-guarded chateau. With an amusing first half and an exciting second half, The Dirty Dozen plays to the strength of its terrific cast, which includes Charles Bronson, Telly Savalas, John Cassavetes, Robert Ryan, and Ernest Borgnine.

Edward Fox as The Jackal.

64. The Day of the Jackal – This taut tale of a 1962 plot to assassinate French president Charles de Gaulle is potent example of the power of cinema. Despite knowing that the assassin—known only as The Jackal—is the villain, I find myself admiring his meticulous planning and (temporarily) rooting for him to accomplish his mission. Fortunately, a plot development late in the film always reels me back in so that I’m relieved when persevering detective Michael Lonsdale foils the Jackal at the final second. A clever plot, fine performances, and Fred Zinnemann’s expert use of European locations make this is a first-class thriller.

Gene Tierney and Vincent Price.

63. Laura – Otto Preminger’s film noir classic seems to improve with every viewing. What’s not to like? It features: one of the most memorable characters in the history of cinema (Clifton Webb’s Waldo Lydecker); a stunning plot twist involving the equally stunning Gene Tierney; a haunting music theme courtesy of David Raksin; and a detective hero whose obsession with the murder victim would be almost creepy in any other film.

62. The Charge of the Light Brigade – Often criticized for its historical inaccuracies, this Warner Bros. classic is nonetheless a top-notch historical action film. Against the backdrop of the Crimean War, Errol Flynn and Patric Knowles play brothers vying for the affections of Olivia de Havilland. An early scene informs us that Olivia’s character, though engaged to Flynn, has secretly fallen in love with Knowles. This knowledge causes us to empathize with Flynn’s British officer as his emotions evolve from disbelief to anger to understanding. I think it’s one of Flynn’s finest performances. The climatic charge, directed by Michael Curtiz, is an incredible sequence (although it resulted in many complaints over the mistreatment of horses).

61. Shane – I’m a sucker for a good tale of redemption and Shane is one of the best. Alan Ladd plays the former gunslinger who unexpectedly finds a home when he stops at a struggling farm. Shane fills a void in the life of each family member. For Joe, Shane is a “man’s man” willing to work or fight beside him—whether it’s a barroom brawl or the war against a villainous cattle baron. For the wife Marion, Shane is the attentive suitor, who notices the little things that her reliable, but bland husband never does. And for little Joey, Shane is a substitute father who takes time to bond with him—something his busy father has had little time to do. Like many of the great Westerns, the importance of family triumphs over all.

Next month, I’ll reach the halfway point of this list with two Malcolm McDowell movies, two films with snowy settings, a colorful Judy Holliday classic, and the only feature directed by a classic film star.

The Rules of the Game: Everyone Has Their Reasons

Entire books have been devoted to analyzing Jean Renoir's 1939 masterpiece, so it's impossible to do justice to this French classic in a single film review. However, I am constantly surprised by the number of film buffs who haven't seen it, so I feel compelled to promote it as part of the Cafe's Foreign Film Festival--well that, plus it's been a personal favorite since I watched it in college long ago.

Best described as a "comic tragedy," The Rules of the Game focuses on three themes: the relationship between and among the frivilous upper-class and their servants; the complex emotions between men and women; and the boundaries and expectations of society (the "rules of the game").

The film opens with the arrival of Andre Jurieux, a courageous aviator who has just completed a 23-hour solo flight across the Atlantic. As the public stands ready to hear about his heroic exploits, Andre uses the opportunity to whine that he did it all for a woman who didn't bother to be there and greet him. It doesn't matter to Andre that Christine, the woman in question, is married.

Octave explains the "rules" to Andre.

Andre's best friend, Octave (Renoir), has a long-standing friendship with Christine (Nora Gregor). He uses his influence to secure Andre an invitation to La Coliniere, a country estate owned by Christine and her husband Robert (Marcel Dalio). Robert is hesitant to agree at first, but Octave convinces him by agreeing to find a husband for Robert's mistress Geneviève (Mila Parely).

At the country gathering of friends, relationships change amidst an avalanche of mixed messages and misunderstandings. A confused Christine contemplates an affair with a stranger, then confesses her love for Andre before realizing that her friendship with Octave may be much more. Meanwhile, her maid Lisette ignores her husband, the gamekeeper, and flirts with both Octave and a poacher-turned-servant named Marceau. It's a classical French farce on the surface, but it's undercut by a condemnation of the bourgeois and concludes with an unexpected tragedy.

Geneviève participates in the hunt.

Clearly, Renoir wants to expose the emptiness and thoughtless cruelty of the upper classes, the latter conveyed in the film's most famous scene: a hunting party that slaughters dozens of rabbits and pheasants. As if this sequence (which is difficult to watch) needed more conviction, Renoir forsakes his typical long takes for cramming in 51 shots in less than four minutes. The violence is shocking and the analogy--that the bourgeois are indifferently destroying an unsuspecting society--is all the more potent.

It's no coincidence that the only likable members of Renoir's bourgeois are "outsiders." Several of Robert and Christine's "friends" feel sorry for Christine because she's Austrian. Later, we learn that Robert's father was a "Rosenthal from Frankfort"--meaning that he was Jewish. This allows us to feel empathy for them while still accepting that their vacuous life of luxury is no different from their guests.

Renoir's trademark use of deep focus--
Andre and Robert chat as Lisette watches
in the background.

In Renoir's world, both upper-class and servant classes understand the conventions of society, even though they break them. Octave stresses to Andre that "society has rules." And one of the house maids, upon learning Christine allowed Andre to sit next to her at dinner, expresses concern because "etiquette is etiquette."

It's ironic that the two most pathetic characters--Andre and Geneviève--are the ones who follow the rules at the risk of their own unhappiness. Andre may come across as a lovestruck fool, but he truly loves Christine and knows what he wants. Likewise, Geneviève understands that she doesn't want to lose Robert, although she confesses that "I don't know if it's love or force of habit." In contrast, Christine, Octave, and Robert struggle with trying to figure out what they really want. In the end, their actions seem foolish and perhaps even tragic, but as Octave explains to Robert at one point: "Everyone has their reasons."

Robert apologizes to his guests
after the tragedy.

The history of The Rules of the Game is almost as fascinating as the film itself. Two of Renoir's previous two films--La bête humaine and Grand Illusion--were big commercial and critical successes (Illusion even earned an Oscar nomintaion as Best Film...not Best Foreign-Language Film). So, it was a tremendous disappointment when Rules of the Games flopped miserably. Renoir even re-edited the film, trimming its running time from 96 minutes to 81. During World War II, the Nazis destroyed all known negatives. Then, in 1959, a restored 109-minute version of the film was released. Renoir approved this version, although it's important to note that he was not involved in the restoration.

Based on shooting scripts, film historians have compared the 81-minute and 109-minute versions. They contend that the shorter film was a harsher indictment of the upper classes, since it reduced or eliminated scenes that fleshed out the characters of Octave and Robert.

Since 1952, Sight and Sound magazine has done a poll of the 100 Greatest Films every decade. The Rules of the Game entered the 1952 poll as #10 and has been  #2 or #3 in every decade since then. The only film to rank above it: Citizen Kane.