Jean Renoir's Le Crime de Monsieur Lange was championed by the Popular Front upon its release. The film begins with people in a hotel recognizing Lange as a murderer, and threatening to turn him in. His lover, Valentine, tries to defend him by telling the full story behind the murder. Both Lange and Valentine worked at a production company headed by an evil, irresponsible capitalist, Batala, who exploited both the workers and women. Batala is forced to leave after being accused of credit fraud, and fakes his own death. Upon his departure, the workers take over the business, and it thrives because of their cooperation and unity. However, this "utopia" is threatened when Batala returns. In the end, Lange kills Batala and then flees with Valentine. Ultimately, the people in the hotel let Lange and Valentine leave, and they flee in exile, "free". Because of the events going on in France and the history of the film's production, I seek to analyze the film from a historical perspective. The argument I am trying to defend is that the narration, symbolism, and style of the film ultimately reflect the ideology of the Popular Front.

Buchsbaum, Jonathan. "Toward Victory: Left Film in France, 1930-35." Cinema Journal 25.3 (1986): 22-52.

In this article, Jonathan Buchsbaum engages in a discussion of the Popular Front in 1930s France. He lists the various individual and group involvement with the movement and how it changed over the course of a few years. Buchsbaum discusses the French Community Party and the lax policies that they advocated. This party also placed little restrictions over film and never actively commissioned the production of propaganda films, much unlike similar Soviet parties of the time. He spends some time talking about the dramatic Soviet push for Communist propaganda as well as the influence of Vertov and Eiseinstein on film all over the world but seems to appreciate the French resistance to the dramatically confining policies enforced by the Soviets. Buchsbaum discusses the election of a socialist government in France in 1936 and all of the views and ideals that shifted as a result of this dramatic political change. Buchbaum's article provides a detailed, accurate representation of the social, cultural, political, and economic atmosphere during the time of Renoir's reign of king of film. He also provides a trajectory path for readers to understand what these changes mean to the rest of the world and how it would make an impact for years to come.

Buchsbaum's article provides an excellent history of left film in France prior to Rules of the Game. It also gives a very accurate showing of the political strife and cultural fears present in the 1930s. This discussion of communism and the Red Scare helps in understanding Jean Renoir's influences as well as the public's extremely negative reaction to the film: both result from fear. Buchsbaum explains that it was actually a trend in 1930s French cinema to include political themes in a film. This aspect provides a new, interesting look at Renoir's use of politics in Rules of the Game not previously considered by my other sources: was Renoir's creative Popular Front film actually a mere attempt for commercial success? It is a possibility. Though Buchsbaum goes on to describe an intense, fearful, uncertain political and cultural atmosphere that would have been near impossible for any filmmaker to ignore. This article is pivotal in understanding the political climate as well as previous works that would have greatly inspired Renoir and played a huge role in determining his film's reception.

Singer, Irving. "Jean Renoir." Three Philosophical Filmmakers: Hitchcock, Welles, Renoir. Palatino: MIT Press, 2004: 146-219.

Irving Singer holds the belief that each of Renoir's films led him on a path to discovery of both the culture around him and himself. He believes that Renoir's character of Octave in Rules of the Game is actually a self-representation: that Renoir desired to play himself, someone that "lost contact with the public" (149). Octave is also shown as slightly inept and mismanaged, revealing Renoir's attempt to level and connect with the public. Singer includes a comment made by Renoir stating that he's only ever "shot one film," maintaining the belief that Renoir strived to provide an accurate representation of French society, even when this meant he must display his views in contrast with those of the general public (147). Singer remarks, however, that Renoir so wished to connect with his audience, with his society, that he became almost desperate to achieve contact and that this desperation led to Renoir's near destruction of Rules of the Game when he continually cut out pieces of the film that may have offended audiences. Singer believes that, in the years leading up to WWII, Renoir's main goal in his filmmaking was to explore how people relate to each other, to nature, and to technology. Singer also expresses the belief that Renoir drew alot from Hinduism, explaining the filmmaker's desire to contrast the differences between his character's spiritual and material lives, a central theme in Rules of the Game.

Singer's chapter on Renoir provides a very interesting take on the filmmaker and his works. It is clear, especially after reading this work, that Jean Renoir was on a quest for truth, using film as a tool to capture society in its most realistic form. Rules of the Game was greatly influenced by the fact that Renoir wished to accurately depict French society though he, of course, was somewhat blinded by his own middle-class beliefs and tendencies. For instance, Renoir criticizes the bourgeios and the servants equally, as he, himself, stood in the middle ground, exempt from criticism. Renoir, however, is nowhere near self-praising; instead, the film functions somewhat as an autobiography with Renoir playing the role of Octave, his on-screen representation. Both lament that they have lost contact with the public. This comment is shown to be almost comically, though paradoxically, true: Renoir had never expected such a negative response from his audience. Up until this point, Renoir's works were, for the most part, celebrated by French society. The point at which he became public about his concerns of losing emotional and intellectual touch with the people, his work invokes a disastrous result and Renoir physically disconnects from his people by fleeing the country. This work also provides a very interesting look at another of Renoir's influences: religion, describing how the beliefs of Hinduism propelled him on his quest for turth amidst spiritual and material confusion.

Renoir, Jean, and Leo Braudy. "Renoir at Home Interview with Jean Renoir." Film Quarterly 50.1 (1996): 2-8.

While brief and not terribly in-depth, this interview conducted with Jean Renoir at his home in Beverly Hills in 1970, provides important insight into the thought process of the filmmaker regarding both his motivations and reflections on his films. This honest account is a refreshing break from all of the speculation surrounding Renoir. We learn that the type of hero Renoir admires most is one like the character of La Chesnaye in Rules of the Game. He also issues an honest statement that Rules of the Game stemmed from his belief "that we are living in a century of compromises" (8). This statement corroborates nicely with the view that Renoir's style comprised of balances between all types of elements. Renoir also addresses the issue of inner and outer truth, concluding that inner truth is the only type that should concern the filmmaker.

Firstly, and most simply, this interview provides a first-hand look at the personal life of Jean Renoir. The piece is an honest and refreshing break from speculation and provides readers with valuable insight into Renoir's philosophies and beliefs. Importantly, though, it marks an occasion in which Renoir himself speaks of the importance of compromises - an element that is clearly visible in his work though never directly addressed. Renoir also speaks about his father, philosophy, and his other films, providing an insightful look at his inspirations and motivations for his work. It is also somewhat paradoxical to note that the interview is being conducted from Renoir's home in Hollywood, where he continues to live after fleeing France. Over 30 years after the release of Rules of the Game, Renoir is still deeply and obviously affected by the film's initial failure.

Bergan, Ronald. "Everyone Has His Reasons." Jean Renoir: Projections of Paradise. Woodstock: The Overlook Press, 1994: 196-206.

In this chapter, Ronald Bergan goes into detail on Jean Renoir's influences for Rules of the Game. For starters, he explains that Renoir kept several elements from the original, Les Caprices de Marianne. Before writing his script, Renoir also drew from other Musset works as well as French baroque music. Bergan believes that these sources, as well as the political events surrounding Renoir, allowed him to create such a unique style in Rules of the Game - one that neatly combined "melodrama and farce" (198). Bergan emphasizes the importance of the hunting scene in the film which shows the "callous cruelty of the guests" and provides the most explicitly violent critique of French bourgeois society (203). Bergan makes a point to note the animosity between (and among) both the upper and lower classes as the solidarity of the Popular Front is now gone. While the prejudice and snobbery of the ruling class is blatantly on display, their critiqued behaviors are echoed by their servants. Bergan also explains Renoir's use of deep-focused lenses, stating that such far-reaching shots were necessary to gather all of the actions taking place in such a dynamic ensemble production. Quick shots and heavy editing would simply not show the interworkings of society that the deep, long shots are capable of. Bergan concludes his chapter by providing some explanation for the harsh critiques that Rules of the Game received by the public upon its release: at the time, Renoir was a known supporter of the Communist Party. Also, his casting provoked "right-wing, anti-semitic and xenophobic emotions" (205).

This article is extremely interesting as Ronald Bergan is able to list several stylistic influences on Renoir in writing Rules of the Game. Instead of focusing on the thematic influences such as the Munich agreement, as other critics have done, Bergan is able to hone in on specific tricks peformed by Renoir, often unorthodox, to inspire his story, such as listening to Baroque music. This offers an alternate view of Jean Renoir in which he is drawing from each and every source in his life to fuel a powerfully creative, though extremely accurate, tale of the world around him. Bergan also details the remarkable accomplishment of, in essence, creating the long shot in Rules of the Game. This huge triumph is usually overshadowed by the negative French public opinion of the film. Bergan, however, explains several concrete reasons as to why the film was met with such criticism by initial audiences. Firstly, Renoir's ties with the Communist Party would have pitted a great deal of Frenchmen against him from the start, especially after observing somet type of critique of French society. Fear of communism, especially in the current situation in Europe, could have easily allowed Rules of the Game to come off as Jean Renoir's attempt at French communist propaganda. Also, the stars of his film included a Jewish man and an Austrian woman, clearly stirring the hatred of the prejudiced and also confusing the public, in such a time of national fragility, that Renoir would even think of using possible 'enemies' to portray the French, especially in a critique.

Bergstrom, Janet. "Jean Renoir's Return to France." Poetics Today 17.3, Creativity and Exile: European/American Perspectives I (1996): 453-89.

In this article, Janet Bergstrom strives to determine the reason behind Renoir's long exile from France after World War II as well as his abandonment of French realist style. After the bitter failure of Rules of the Game in 1939, Renoir fled to the United States where he would continue to make Hollywood films, deserting his country (and perhaps morals, ideals, and sense of self) for good. After WWII, Renoir became somewhat of a sellout, conforming to Hollywood styles and expectations. Renoir's dramatically different approach to filmmaking, however, hindered him from achieving real commercial success in Hollywood, almost hinting that Renoir could not escape the French Realism that he worked so hard to define. Bergstrom also describes Renoir's alliances with the Communist Party and how this may have hurt Rules of the Game's success in prewar France. She also examines the "betrayal" felt by many of Renoir's fans, that their French hero had deserted them (456); Renoir, however, considered himself a "citizen of the world" that followed his instinct wherever it took him (458). Bergstrom also examines the depression that overtook Renoir upon the failure of his most-loved film. It is impossible to ascertain the truth behind Renoir's motives through mere speculation, though the betrayal that Renoir himself would have felt by the angry French audiences after the release of Rules of the Game is surely necessary to take into account.

This article is extremely helpful in understanding the impact that Rules of the Game initially had on the French people and why Renoir was so changed by it. Bergstrom provides a great deal of personal information about the life of Jean Renoir before, during, and after the creation of Rules of the Game. Knowing where Renoir was, mentally and politically, at the release of the film greatly aides in understanding his extreme reaction. Rules of the Game was Renoir's first real chance to express himself freely, uninhibited by social restraint or fears. He felt that he was led by his instinct and was very happy with the work he had created. He took offense when the French public took so negatively to Rules of the Game; he was proud of his work and expected his countrymen to share in the sentiment. Upon the realization that his 'baby' was a failure, Renoir felt the need to flee. This article really puts into perspective the importance of this film to Renoir and provides legitimate reasons for his seemingly-extreme reaction.

Armes, Roy. "The Paradoxes of French Realism." French Cinema. New York: Oxford University Press, 1985: 86-108.

Roy Armes takes a slightly different approach to analyzing Rules of the Game and the works of Renoir than my other sources. He starts off by saying that Renoir's works are not united by a common style. He, instead, characterizes Renoir's films as existing between contradictory impulses, in a state of tension. He suggests viewing and analayzing each of Renoir's films separately, each in its own contemporary setting. Armes believes this is necessary as Renoir proved to be greatly influenced by each shift, however miniscule, within French society before WWII. Each major political event in the European world of the 1930s can be seen as part of one of Jean Renoir's films. Armes acclaims Rules of the Game as Renoir's most impulsive, uninhibited work that toys with reality and illusion and also provides a "self-portrait of rare depth" (107). Armes describes the theatrical techniques used by Renoir and the 'dramatic fantasy' that he creates by forming several 'play within a play' structures. Armes believes that each pivotal moment in the film arises when two incongruously linked characters are brought together - a technique that both readily induces dramatic conflict within the film and obviously mirrors conflict within society, providing a clear juxtaposition to the imposing 2nd World War.

This article provides a different perspective from which to view the film. Unlike many other critics that group Renoir's films together as a continuous social critique, Roy Armes underlines the importance of viewing each film separately. If Renoir were truly sensitive to changes in French culture, each of his films would embody a different viewpoint and radiate an entirely different spirit. It is very important, as Armes suggests, to analyze each film in its own contemporary setting. Thus, Rules of the Game should not be immediately compared to Renoir's other works as it often is. Armes also brings up the possibility that the film was, for Renoir, something of a self portrait. This provides countless new options for viewing the film and thus, Jean Renoir. For instance, we can learn alot about Renoir and his intentions by studying the character of Octave. Paradoxically, watching the film and analyzing the character will help viewers better understand the filmmaker and, thus, his intentions with the film. The article also suggests that Renoir uses a 'dramatic fantasy' technique in order to artfully bury his political beliefs in a complicated web of relationships. Knowing this technique helps one extract Renoir's intended messages from the film.

 

Tifft, Stephen. "Drôle De Guerre: Renoir, Farce, and the Fall of France." Representations.38 (1992): 131-65.

In his article, Stephen Tifft argues the direct relationship between the political events of Europe in the 1930s and the events and themes present in Renoir's Rules of the Game. He remarks on Renoir's use of farce to provide a harsh criticism of upper-class French society and the risks that accompany this choice. Tifft lists the dangers that accompany Renoir's choice of employing comedy in his political arguments; one such danger helps explain the negative reception of the film among the French community as Renoir's audience took immediate offense to his harsh critiques. By imbedding his political beliefs in comedy, Renoir could have given the wrong impression to the public: that he was fed up with French culture and wished merely to insult the offenders. At such a fragile time in French society, such a blatant stab at culture proved disastrous and Tifft goes into great detail about the horrendous initial reception of Renoir's film. Tifft also makes the argument that Renoir's film is concerned, directly, with the conflict in Munich at the time of the script's writing. Tifft lists several examples for this rationale including the relation between the 'Four-Power Pact' of real-life Europe and the conflicts existing between the film's characters. He also analyzes the famous hunt scene, primarily for its critique of reckless aristocratic behavior that leaves helpless members of society at the mercy of the powerful. Tifft also praises Renoir's combination of history and farce in a manner that would both draw from and influence the society it is a part of.

In this article, Tifft gives a very convincing argument to directly correlate the social and political events in 1930s Europe with Jean Renoir's Rules of the Game. Tifft provides alot of evidence, tied to specific scenes in the film, to show that a character's actions were meant to mirror an element of popular culture. With such an abundance of information, readers do not have to wholeheartedly agree with each of Tifft's points, but rather have plenty of evidence to pick and choose for themselves which aspects from Rules of the Game, if any, were directly influenced by real life events. Tifft also analyzes the film as a farce, making it easier to separate important stylistic elements of the film from mere moments of comedy.

Brooks, Charles William. "Jean Renoir's the Rules of the Game." French Historical Studies 7.2 (1971): 264-83.

In this entry of French Historical Studies, Charles Brooks examines the effect of popular culture and prominent political and economic events in the shaping of cinema, particularly French Realist Cinema. Brooks names Jean Renoir the greatest director of the prewar period and the driving force for the 'Renaissance of French Cinema'. Brooks focuses primarily on Renoir's ability to accurately display (and question) the class differences within French society. Rules of the Game is a pivotal film because it captures French society at a haunting period of history; it "dissects the spirit of a people already defeated internally and merely awaiting the end at the hand of an external executioner" (267). Brooks also compares Rules of the Game to Boudu Saved from Drowning and analyzes the similarities between bourgeois and servant relations. He argues that both films reveal the middle-class tendencies deep-rooted in Renoir that place him in a prime position for objective class analysis. It also helps explain the sense of balance that Renoir finds necessary to strike both in his works and his real life.

This article is extremely helpful in understanding all of the factors that influenced Jean Renoir in his creation of Rules of the Game. It first describes where French Realist Cinema was, at a movement, when Jean Renoir began producing films. We are provided with plenty of background information on the movement that would have influenced Renoir, stylistically. We are also given information on the tumultuous political strife leading up to the creation of Rules of the Game. Renoir's choice to center his film on a critique of French social life makes sense with this knowledge. Background on Renoir's personal life helps to better understand the position he took in political situations. This article also provides a comparison to another Renoir film, highlighting his affinity for representing class distinctions.

Rafferty, Terrence. "FILM; 'The Film of Films': Renoir's Masterpiece." Rev. of La Regle du jeu, dir. Jean Renoir. New York Times. 18 Jan. 2004. 26 Nov. 2008.

In this recent New York Times article, Terrence Rafferty praises Renoir's Rules of the Game in the wake of its newly-formatted DVD release. This leads Rafferty to discuss the issue of natural vs. mechanical that is present within the film. Rafferty summarizes Renoir's goal for his film as wishing to expose the lives of people caught up in social mechanism, carrying out empty gestures and becoming lost in an unfeeling world. Rafferty praises Renoir's ability to critique French culture, while still respecting its fragility. This viewpoint is in direct opposition to many Renoir critics, especially the original Rules of the Game audiences who attacked Renoir for his disrespectful showings. Rafferty acnowledges the film as a farce in which characters rush about, making loud noises and engaging in dramatic spills, but notes that the "panic and desolation" felt secretly by each of the characters is beautifully brought to light in a way that removes some comical elements from the film. This balance that Renoir was able to strike between heartbreakingly honest and spectacularly unreal proved confusing and very difficult for viewers of the 1930s to embrace. Only years later were viewers able to appreciate this delicate balance and give Renoir the credit he rightfully deserved.

This article is very convenient because it neatly summarizes the current critical viewpoint on Rules of the Game. Although this article was written specifically for the release of a DVD, it concentrates on a modern interpretation of a classic film. Rafferty offers a specific lens with which to view the film: machine vs. nature. While this is certainly not the only theme of the film, it aids the viewer in understanding the film's focus as well as the filmmaker's possible intentions. Also, by examining the film as a farce, it is easier to pick out the techniques used by Renoir in order to accomplish his goals. For instance, by imbedding his political beliefs in a comedy, Renoir is able to point out social flaws of the French people without overtly attacking the entire society. This article also shows that, despite the film's initial negative reception, Rules of the Game is currently regarded as one of the most influential films in history.

Buss, Robin. "La Regle de jeu/The Rule of the Game (1939)." The French Through Their Films. New York: Ungar, 1988: 55, 114.

In his book, Robin Buss analyzes several important French films and how they relate to the society they depict as well as the movements they were a part of. He remarks that Rules of the Game was initially met with indifference and not long after, critiqued and banned. Now, however, the film is revered as one of the greatest cinematic achievements of all time. Buss explains that this extremely quick change in preferences is representative of the rapid culture changes in the past half century, especially in French society, and more importantly, as a result of war. Buss also points out an extremely interesting symbol in Rules of the Game: Renoir's use of food. For instance, Octave's refusal of breakfast is considered a sign of distress. The very importance placed on food in the culture depicted by Renoir both helps audiences connect to the story and reveals a superficiality present in the customs of popular culture. Thus, the very technique Renoir uses to reach out to his audience also condemns the practices central to their daily lives.

Robin Buss' book is an overall filmography of early 20th century French cinema. It provides an interesting look at Rules of the Game by placing it in its historical context. Unlike many other sources, Buss's book shows Renoir's film as one of the many. Instead of being the sole topic of discussion, the film is juxtaposed with other important works of French cinema, some with very similar themes, and readers are able to assess the importance of Rules of the Game at a point 50 years after its release. Most interestingly, Buss offers an alternate topic of study for the film: the use of food as a symbol. Renoir's use of this symbol could have a two-fold purpose: the first to connect with his audience. Renoir expressed a deep desire to become one with the public and the use of such a communal symbol would have not only brought his audience together but also  forged a bond between the audience  and the characters. The second purpose, conversely, is to provide a critique of French culture. In this tumultuous, growingly amoral society, food is one of the only thing that still matters. Fulfilling both of these purposes, food is also shown as a connector between the ruling class and the servants. This aides both in drawing connections to unite French society but also, more subtly, in upholding a method of critique.

Central Question: How does La Rhgle du jeu reveal how French filmmaker Jean Renoir was influenced by current events and politics in the world around him (e.g. economic depression, the forthcoming World War II, French bourgeois society) and how do these events influence the themes that permeate the film?

Bates, Robin. "Audiences on the Verge of a Fascist Breakdown: Male Anxieties and Late 1930s French Film." Cinema Journal 36.3 (1997): 25-55.

This article by Bates brings into question the general trends of French film in the late 1930s. By offering a comparison of 3 films—Marcel Carné’s Quai des brumes (1938), Maurice Tourneur’s Katia (1938) and Renoir’s La Règle du jeu (1939)—Bates delves into the role that film played for “viewers on the verge of cataclysmic change,” i.e. those at the brink of World War II (25). She uses various sources, such as reviews, letters, and even censorship rulings, in order to prove that film audiences respond more favorably to works that ease their concerns and angrily to those that exacerbate and confront these anxieties. Bates also analyzes the “crisis of masculinity,” a term coined by Ginette Vincendeau. She argues that in the atmosphere of pre-World War II Europe, as deeply powerful males like Hitler, Franco and Mussolini grew in influence, the French people began to grow disheartened and lose confidence in their male leaders. Thus, these three films reflect this idea of weak masculine characters.

Bates’ argument is relevant to my thesis because it proposes a different infusion of politics into the film. Bates mentions Theweleit’s description of archetypes, categorizing the character of Christine into the type of “pure white countess” (27). One could even argue that these archetypes are taken to the fullest extent in the film to be used for a scathing critique of the haute bourgeoisie. Her argument that the portrayal of males and male-female relations in film drastically changed in the late 1930s as a result of the pre-War political situation supports my argument. Bates’ article also provides in-depth analyses of the three films and includes key reactions to the films at the time of their premieres, again showing the effects of the films on not just French, but also European society.

Renoir, Jean, and Leo Braudy. "Renoir at Home Interview with Jean Renoir." Film Quarterly 50.1 (1996): 2-8.

Leo Braudy conducts an interview with Jean Renoir in the filmmaker's Beverly Hills home in 1970. The published interview gives insight into Renoir’s mentality and reflection on his films. Braudy asks questions regarding the influence of Renoir’s father. For example, he asks whether the director had considered the possibility of using his father’s priceless paintings to fund film projects; even further, the two discuss the filmmaker and his father’s existentialist philosophies. Along with explanations of various Renoir films, such as the meaning behind the title Le Caporal épinglé (and the equivalent English misnomer), or the role of costumes in his films, there is also a discussion on the idea of epic versus pastoral films, during which Renoir comments that his epic films came when there were contemporary epic topics to portray in his films, rather than on a whim.

This interview provides key insight into the opinions and philosophies of Jean Renoir. Though it does not provide direct commentary on the influence of political events on his films, there is useful evidence of personal inspiration for and influences on Renoir’s films. Obviously, Renoir’s films, La Règle du jeu included, were not solely motivated by political events or ideologies. This source in particular offers direct information and dialogue with the filmmaker, which makes it more insightful and honest than others. Incorporation of Renoir’s own words and his own perspectives provides another angle from which to build my case and analyze the approach to the creation of La Règle du jeu during such a turbulent political era.

Silver, Charles. "Jean Renoir and Josef Von Sternberg: A Centennial Duo." MoMA.18 (1994): 24-7.

Silver compares and contrasts Jean Renoir and Josef Von Sternberg. As contemporaries in the film industry, the two filmmakers carry numerous similarities, and even some coincidences link the two. Both immigrated to the United States, residing in California, especially in response to Hitler’s growing power in Europe, and both also maintained similar close relationships with their actors. Silver even compares Renoir to Japanese director Yasujiro Ozu, as they both chose actors they already knew as people; Renoir would cast his brother Pierre, or close friends like Jean Gabin. Even in terms of cinematic themes, Renoir and Sternberg both focused on the power and pervasiveness of water throughout their filmmaking careers. Yet, the two filmmakers also had a number of differences. Whereas Renoir maintained a more impromptu, almost sloppy style, Sternberg had a reputedly more perfectionist directing style, clearly dictating his cinematic vision to his actors.

Though Silver’s piece is more of a broad discussion of two filmmakers during the World War II era, he does mention artist Pierre-Auguste Renoir’s influence on his son Jean. Silver also discusses Jean Renoir’s “reverence for the past, both civilization’s and his own,” which incorporates not only the politics of the time, but also the literary and artistic movements, and technological advancements (i.e. sound film) that accompanied (26). Silver does not focus deeply on exactly what political events directly affected the making of La Règle du jeu, but does offer key insight to greater cultural influences on the filmmaker, which loosely supports the concept that the era’s politics and culture molded the film.

Tifft, Stephen. "Drôle De Guerre: Renoir, Farce, and the Fall of France." Representations.38 (1992): 131-65.

Tifft argues a relatively more direct relationship between events of the 1930s and the creation of Renoir’s La Règle du jeu. According to Tifft, current events did more than just influence Renoir; Renoir incorporated direct concepts and ideas from events of the era into specific scenes. For example, Renoir’s digust with the Munich appeasement agreements led to the Marquis de Chesnaye’s yielding to Jurieu, gladly appeasing him, and permitting him to run away with his wife in La Règle du jeu. This concept parallels the appeasement of Hitler by pressuring Czechoslovakia to yield the Sudetenland. Both situations would lead to disaster. Tifft also focuses his discussion on Renoir’s innovative use of farce in combination with history, especially noted in the hunt scene. Renoir’s film would, in turn, influence its viewers as much as the filmmaker’s observations of society had influenced the creation of it.

Tifft’s argument is, in fact, extremely supportive of my own thesis. By proving that current events played a much larger role than expected in Renoir’s creation of La Règle du jeu, Tifft reinforces my argument ten-fold. He raises unique points as he mentions direct corresponding ideas between history and scenes in the film. Though some of Tifft's concepts and parallels between the film and current events seem a bit farfetched, La Règle du jeu was clearly a means for Renoir to portray his left-wing political views, and offer commentary on his opinion of the state of affairs of the country immediately before it entered World War II. 

Brooks, Charles William. "Jean Renoir's the Rules of the Game." French Historical Studies 7.2 (1971): 264-83.

In this chapter of French Historical Studies, Brooks describes the influence of current events to the production of French film (during the era of French realist cinema). Especially as economic depression played a growing role in France by 1934, filmmakers took cues from the social context of the time period to inspire their films. Brooks includes a quotation by Marcel Carné, who stated, “the highest mission of a filmmaker is to be a barometer of his times” (266). Brooks also offers a close study of Renoir’s focus on class disparities, perhaps his favorite theme. With an analysis of Boudu Saved from Drowning, Brooks explores the role of class differences between the tramp Boudu and the bourgeois Lestingois. The same applies to Brooks’ explanation of La Règle du jeu, and the film’s clear commentary on the acceptability and ubiquity of lies in the 1930s. Affected by ideals of the Popular Front, Renoir in La Règle du jeu and other films reveals his “middle-class anarchist” tendencies (282).

Brooks’ chapter on Jean Renoir is applicable because it clearly focuses on the influence of politics and history on French filmmakers of the time. Especially through his discussion and close analysis of La Règle du jeu and other Renoir films, Brooks underscores the theory that Renoir’s films were very much a result of the times. Renoir’s focus on the differences between classes in society, and the raging criticisms of bourgeois life served more as social commentary than as effective means to appease audiences. In fact, bourgeois audiences hissed at the blatant denigration of their class. Though the film itself was an instant failure in the theaters, Brooks explains its significance relative to current events that surround the era, and manages to emphasize social effects on filmmakers’ choice of themes, which plays well into my argument that current events had much to do with Renoir’s La Règle du jeu.

Bergstrom, Janet. "Jean Renoir's Return to France." Poetics Today 17.3, Creativity and Exile: European/American Perspectives I (1996): 453-89.

Bergstrom delves into the question of why Jean Renoir did not return to France following World War II. After directing La Règle du jeu in 1939, Renoir fled to the United States, where he resided until his death. Many French citizens and critics like André Bazin considered this a traitorous act, as all other French filmmakers who had fled to the United States had returned after the War. Especially in light of the fact that Jean Renoir had almost single-handedly molded the French poetic realist genre that was so characteristic of the pre-War time period, it seemed even more blasphemous that he would not return to his native homeland. Bergstrom also discusses a growing disparity between Renoir’s films before and after World War II. Pre-War films distinctly follow a realist style, whereas post-War films have clearly yielded to Hollywood’s influences and expectations. For this reason, it seems after World War II, Renoir fit neither French film style nor American film style, and was some awkward amalgamation of the two.

Bergstrom’s analysis of Renoir’s career before and after World War II is fascinating and quite relevant to my thesis. Her description of not only Renoir’s personal life, such as his association with communists through his wife Marguerite Houllé and his writing for the communist publication Ce soir, but also the political events of the time reveal the changes in the environment in which he lived in a span of decades. Bergstrom also mentions the process and history of creating La Règle du jeu, including Renoir’s association with various other French filmmakers and his philosophical allegiances to writers like Émile Zola. In particular, it is interesting to note Bergstrom’s argument that La Règle du jeu’s failure fueled Renoir’s reluctance to return to France after the War.

Buchsbaum, Jonathan. "Toward Victory: Left Film in France, 1930-35." Cinema Journal 25.3 (1986): 22-52.

Buchsbaum’s article outlines artists’ and intellectuals’ involvement with the popular front in France in the 1930s. Especially after the French elected their first socialist government in 1936, the changed politics of the time began to reflect changing views of the people and a shift in French culture. Buchsbaum notes that interestingly, despite cues from Soviets, the French Communist Party (PCF) did not actively seek to create propaganda films. Perhaps La Crise in 1931 was the closest, by portraying the benefits of pacifism and the brutality of war. Despite the Comintern’s consistent utilization of film and literature to promote the values of communism, the popularity of Soviet films by Eisenstein and Vertov, and the formation of Le groupe Octobre, the PCF did not seem to follow suit to the extent it could have.

Buchsbaum argues that “film sought to make interventions in the immediate political reality of the time” (22). His article is applicable to my thesis for its thorough discussion of the political situation of the time period in which Renoir created La Règle du jeu. There was truly a development of a left film culture in France, even though it may not have been taken to the clear extent of Soviet propaganda film during the same era. By analyzing the transition of French cinema culture and developments in film trends in the 1930s, Buchsbaum emphasizes the radical role of politics in filmmaking. Communism was widespread and an increasingly popular ideology, while fascism, its rival ideology, was also gaining power in countries like Germany. Though Buchsbaum only briefly mentions Renoir once, his article is paramount to understanding the political and social atmosphere of the time.

Faulkner, Christopher, and Jean Renoir. "Jean Renoir Addresses the League of American Writers." Film History 8.1, Cinema and Nation (1996): 64-71.

Faulkner’s commentary in combination with Renoir’s own address to the League of American Writers offers insight into the political ideologies of the filmmaker. Faulkner begins by describing the political atmosphere of the era and the environment in which Renoir gave his 1943 speech. The League of American Writers (LAW) was an organization of left-leaning intellectuals who gathered in blatant censure of fascism. LAW was considered to be a key player in the American popular front alliance. Renoir’s involvement with the organization is testament not only to his political beliefs but also reveals the many artists and intellectuals he was associated with. These individuals had likely great influences on the filmmaker. For example, Renoir collaborated with Dudley Nichols on This Land is Mine in 1943, which revealed both individuals’ opinions on working class struggles and criticisms of fascism. Renoir’s speech to LAW would, in fact, draw parallels from dialogue in this film.

Renoir’s speech would be a great complement to my thesis because it is clearly a description of the filmmaker’s political views. It is clear that he was extremely left-leaning in ideology, associated with communists and other liberal thinkers, and made a point to fight back against the fascist regimes that were gaining power in the 1930s and 1940s. Renoir was also extremely nationalist and prideful of his home country of France. He encouraged solidarity and the need to love fellow citizens in order to love citizens of other nations. Faulkner’s discussion of Renoir’s politics brings to light the important role the political environment of the 1930s and 1940s played in the creation of Renoir’s films. His discussion of Renoir’s attitudes towards the interplay of politics and art is equally significant and relevant to my argument.

Renoir, Jean. "La Regle du jeu--1939." My Life and My Films. Trans. Norman Denny. N.p.: Da Capo, 1991. Rpt. in Jean Renoir's The Rules of the Game. N.p.: n.p., n.d.

In this excerpt from his book, Renoir describes the process in which he planned the creation of La Règle du jeu. Baroque music, especially the works of Coupenn, Rameau, Lulli and Grétry, served as the platform for Renoir’s focus on the haute bourgeoisie. A focus on Lestringuez’s “amorous intrigues” inspired the filmmaker to focus on the frivolity of love as a thematic motif in the film. Hearkening back to his early childhood, Renoir recounted images of Sologne—the fog, the countryside, and the hunting season—all clearly portrayed in the film. Renoir also describes the influence of Les Caprices de Marianne, which he had originally considered creating a modern remake of; a fragment of its themes would be seen in the tragic climax of La Règle du jeu.

This excerpt of Renoir’s book is particularly interesting and relevant to my thesis because of its description of the filmmaker’s philosophy and his own awareness of what influences him. He describes the role of Nora Grégor, who played Christine de La Chesnaye, and her husband, as the two faced increasing troubles with the rise of Hitler in their homeland of Austria. Renoir described his approach to film by saying, “One starts with the environment to arrive at the self.” Essentially, he takes from what is around him to come upon what he is to create; he wrote the part of Christine for Nora Grégor. This philosophy is the same of Renoir’s father. Jean Renoir claims La Règle du jeu is a war film, though there is not a blatant ounce of war in the film. Instead, the film was a result of the impending World War II. Renoir intended to offer a pleasant film for audiences to forget their worries; however, La Règle du jeu emphasized the dismantling of French society, testament to Renoir’s inability to isolate himself from the politics of the time, and further evidence in support of my argument.

Rafferty, Terrence. "FILM; 'The Film of Films': Renoir's Masterpiece." Rev. of La Regle du jeu, dir. Jean Renoir. New York Times 18 Jan. 2004. 30 Nov. 2008 .

In this film review, Rafferty describes Renoir’s own aversion to technical refinements as they pertain to film. In light of the recent DVD release of Renoir’s La Règle du jeu, Rafferty pays homage to the director and his ability to skillfully dismantle the conventions of 18th century comedic film. Apart from a brief plot summary and discussion of Renoir’s focus on the “bourgeois of our age,” Rafferty raises some interesting points with regard to parallels between Renoir’s life and experiences, and scenes in the film. For example, Rafferty posits that the final scene of the character Octave, played by Renoir himself, leaving the estate without direction suggests Renoir’s plans to leave France immediately following the premiere of the film. This suggests that perhaps Octave was a spitting image of Renoir not only physically, but mentally and in terms of personality. This would also agree with Renoir’s method of actor selection and his notorious impromptu style of script editing and filming. Providing historical context and mention of the film’s ban during World War II, Rafferty offers a wide scope of insight into the film’s making.

Rafferty’s review, though inspired by the DVD release of the film, makes note of different important aspects of the film. His description of the film’s parallels to Renoir’s own life offers a deeper psychological connection to the filmmaker than simply the political atmosphere that may have influenced La Règle du jeu. This presents another perspective with which to approach the greater question of the influences of current events at the time of the film’s creation, and other personal influences that affected Renoir, the subject of my thesis.