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.

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.

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.

 

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.

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.

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.

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.