Banned by the Nazis, and destroyed before being discovered and restored, "The Rules of the Game" influenced iconic directors like Orson Welles, Bernardo Bertolucci, and Robert Altman. It is one of best films ever made.
The Rules of the Game (1939)
Tomatometer
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Reviews Counted: 37
Fresh: 36
Rotten:1
Average Rating: 9.1/10
Runtime: 1 hr 55 mins
Genre: Foreign Films
Synopsis: Widely regarded as one of the greatest films ever made, Jean Renoir's masterpiece THE RULES OF THE GAME is a devastating satire of the pre-WWII French aristocracy. Starring Marcel Dalio as wealthy... Widely regarded as one of the greatest films ever made, Jean Renoir's masterpiece THE RULES OF THE GAME is a devastating satire of the pre-WWII French aristocracy. Starring Marcel Dalio as wealthy landowner Marquis Robert de la Chesnaye, it charts the shifting relationships among the guests at a weekend hunting party on his vast estate. The guest list includes Robert's mistress Genevieve (Mila Parely), from whom he's trying to part, and Andre Jurieu (Roland Toutain), a famed aviator who is in love with Robert's wife, Christine (Nora Gregor). As they begin a dizzy dance of escape and pursuit, their games are observed and echoed by the servants below the stairs. The gamekeeper Schumacher (Gaston Modot) is trying to keep the poacher, Marceau (Julien Carette), from poaching on his pretty wife, Lisette (Paulette Dubost), unaware that his boss also has his eye on her. The passionate Jurieu, the only guest incapable of the appropriate hypocrisy, finds Christine in an embrace with a random lover (Pierre Nay), and the startled woman decides to leave Robert and go away with the aviator. Renoir's subtle deployment of long tracking shots in multiplanar deep focus reveals the relations of both groups and individuals as he dismantles the rituals of hypocrisy that make this society run smoothly. [More]
Starring: Marcel Dalio, Nora Gregor, Jean Renoir, Mila Parely
Starring: Marcel Dalio, Nora Gregor, Jean Renoir, Mila Parely, Roland Toutain, Paulette Dubost, Pierre Magnier
Director: Jean Renoir
Director: Jean Renoir
Screenwriter: Jean Renoir, Carl Koch
Producer: Claude Renoir
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Reviews for The Rules of the Game
The mobile camera seems to be a member of the party, as it follows the almost balletically choreographed movements of the cast. The effect for the audience is transcendental. We are watching life at its messiest, unfolding at its most beautiful.
A scathing attack on the show of feeling by a murderously superficial elite . . . the more you watch it, the more Renoir's masterwork reflects the cold, hard truth%u2014The Rules of the Game still apply.
Welcome to The Rules of the Game, Jean Renoir's delightful, frothy, bittersweet masterpiece about romance, class and manners.
A great film because of the way it moves beyond social commentary to show how each character, rich and poor, is isolated and at the same time unified by his fears and needs. We're all in a class by ourselves.
A disaster when initially released, the movie's reputation has only grown since.
The digitally restored print showing in theaters is worth seeing. If it doesn't come to your town, then look for it to show up on IFC in its tribute to Janus Films or buy or rent the Criterion Collection DVD. However you see this masterpiece, you absol
Jean Renoir's classic 1939 satire hasn't lost any of its ability to both shock and enlighten.
Even if you think you know it, see it again for its newly rediscovered depth of field, and even more, for its infinite wellsprings of character and empathy.
There are about a dozen genuine miracles in the history of cinema, and one of them is Jean Renoir's supreme 1939 tragi-comedy The Rules of the Game.
Yes, there is the director's perfect and unobtrusive technique...and, yes, there's his extraordinarily good-natured, generous attitude toward his characters. But the whole is much greater than the sum of these elements.
What ultimately defines the film, what makes it unforgettable, is its tragic gravity.
[The film] is a comedy, a tragedy, a portrait of class manners, a love story of touching caprice (who will Nora Grégor's Christine fall for? Whoever woos her at the right moment), and far and away the cinema's greatest midsummer night's dream.
The film was withdrawn, recut, and eventually banned by the occupying forces for its "demoralizing" effects. It was not shown again in its complete form until 1965, when it became clear that here, perhaps, was the greatest film ever made.
Like the very greatest artists in all media, Renoir was able to transcend his own perspective, his own prejudices, and glimpse something of the terror and wonder of human life, the pain of misapplied or rejected love, for rich as for poor.
If you think you know it, see it again for its newly rediscovered depth of field, and even more, for its infinite wellsprings of character and empathy.
Embracing every level of French society, from the aristocratic hosts to a poacher turned servant, the film presents a hilarious yet melancholic picture of a nation riven by petty class distinctions.
... impressionante a fluidez com que as diversas narrativas se movem e se cruzam, mas ainda mais admirável é perceber a complexidade e a eficiência com que a câmera de Renoir percorre a história.
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