La Règle Du Jeu

''The Rules of the Game'' (original French title: ''La règle du jeu'') is a 1939 French satirical comedy-drama film directed by Jean Renoir. The ensemble cast includes Nora Gregor, Paulette Dubost, Mila Parély, Marcel Dalio, Julien Carette, Roland Toutain, Gaston Modot, Pierre Magnier and Renoir.

Renoir's portrayal of the wise, mournful Octave anchors the fatalistic mood of this pensive comedy of manners. The film depicts members of upper-class French society and their servants just before the beginning of World War II, showing their moral callousness on the eve of destruction.

At the time, ''The Rules of the Game'' was the most expensive French film made: Its original budget of 2.5 million francs eventually increased to more than 5 million francs. Renoir and cinematographer Jean Bachelet made extensive use of deep-focus and long shots during which the camera is constantly moving, sophisticated cinematic techniques in 1939.

Renoir's career in France was at its pinnacle in 1939 and ''The Rules of the Game'' was eagerly anticipated. However, its premiere was met with scorn and disapproval by critics and audiences. Renoir reduced the film's running time from 113 minutes to 85, but even then, the film was a critical and financial disaster. In October 1939, it was banned by the wartime French government for "having an undesirable influence over the young".

For many years, the 85-minute version was the only one available; even so, its reputation slowly grew. However, in 1956, boxes of original material were discovered, and a reconstructed version of the film premiered that year at the Venice Film Festival, with only a minor scene from Renoir's first cut missing. Since then, ''The Rules of the Game'' has been called one of the greatest films in the history of cinema. Numerous film critics and directors have praised it highly, citing it as an inspiration for their own work. It is the only film to earn a place among the top ten films in the respected Sight & Sound (British Film Institute) decennial critics' poll for every decade from the poll's inception in 1952 through the 2012 list (in 2022 it fell to #13).

Plot

Aviator André Jurieux lands at Le Bourget Airfield outside Paris after crossing the Atlantic in his plane. He is greeted by his friend Octave, who tells André that Christine the Austrian-French noblewoman André loveshas not come to greet him. André is heartbroken. When a radio reporter comes to broadcast André's first words upon landing, he explains his sorrow and denounces Christine. She is listening to the broadcast in her Paris apartment while attended by her maid, Lisette. Christine has been married to Robert, Marquis de la Chesnaye for three years. For two years, Lisette has been married to Schumacher the gamekeeper at Robert's country estate, La Colinière in Solognebut she is more devoted to Christine than to her husband. Christine's past relationship with André is openly known by her husband, her maid and their friend Octave. After Christine and Robert playfully discuss André's emotional display and pledge devotion to one another, Robert excuses himself to make a telephone call. He arranges to meet his mistress Geneviève the next morning.

At Geneviève's apartment, Robert says he must end their relationship but invites her to join them for a weekend retreat to La Colinière. Christine also invites her niece, Jackie. Later, Octave induces Robert to invite André to the estate as well. They joke that André and Geneviève will begin a relationship, thereby solving everyone's problems. At the estate, Schumacher is policing the grounds and trying to eliminate rabbits. Marceau a poachersneaks onto the estate to retrieve a rabbit caught in a snare. Before Marceau can escape, Schumacher catches him and begins to escort him from the property when Robert demands to know what is happening. Marceau explains that he can catch rabbits and Robert hires him as a servant. Once inside the house, Marceau flirts with Lisette. The next morning the assembled guests go on a hunt led by Schumacher. On the way back to La Colinière's castle, Robert tells Geneviève that he no longer loves her. Geneviève unwillingly accepts but demands a kiss from Robert as a farewell, something that Christine accidentally sees while looking through a monocular. Because of this, later when Geneviève wants to pack up and leave Christine confronts her but persuades her to stay because this will make Robert pay less attention to Christine while André is present.

At a masked ball, various romantic liaisons are made. André and Christine declare their love for each other and plan to run away together. Marceau pursues Lisette, and the jealous Schumacher is upset. Robert and André come to an argument over Christine. In the secluded greenhouse, Octave declares that he too loves Christinewho is now having doubts about Andréand they decide to run away together. Schumacher and Marceau, who have both been expelled from the estate by Robert after a fight over Lisette, watch Octave and Christine in the greenhouse. As in Beaumarchais's ''Marriage of Figaro,'' the literary basis for Mozart's opera, they mistake Christine for Lisette because Christine is wearing Lisette's cape and hood. Octave returns to the house for his coat and hat, where Lisette begs him not to leave with Christine.

Breaking his promise to Christine, Octave meets André and sends him out to Christine in the greenhouse, lending him his overcoat. When André reaches the greenhouse wearing Octave's coat, Schumacher mistakes him for Octave, whom he thinks is trying to run off with his wife Lisette, and Schumacher shoots him dead.

In the closing moments of the film, Octave and Marceau walk away into the night as Robert brings Schumacher back into the household and explains that he would report the killing to the authorities as nothing more than an unfortunate accident.

Cast

Credits adapted from British Film Institute.

* Nora Gregor as Christine, Marquise de la Chesnaye
* Paulette Dubost as Lisette, Christine's maid
* Marcel Dalio as Robert, Marquis de la Chesnaye, Christine's husband and Geneviève's lover
* Roland Toutain as André Jurieux, an aviator in love with Christine
* Jean Renoir as Octave, an old friend of Christine and friend of André
* Mila Parély as Geneviève de Marras, Robert's lover
* Julien Carette as Marceau, a poacher and Lisette's would-be lover
* Gaston Modot as Edouard Schumacher, Robert's gamekeeper and Lisette's husband
* Anne Mayen as Jackie, a niece of Christine
* Pierre Magnier as The General, a guest at Robert's estate
* Léon Larive as the cook
* Henri Cartier-Bresson as the English servant
* Marguerite de Morlaye as a guest

* Pierre Nay as Monsieur de St. Aubin, a guest at Robert's estate
* Richard Francœur as Monsieur La Bruyère, a guest at Robert's estate
* Odette Talazac as Madame de la Plante, a guest at Robert's estate
* Claire Gérard as Madame de la Bruyère, a guest at Robert's estate
* Lise Elina as the radio reporter at the airport
* Eddy Debray as Corneille, Robert's butler
* Géo Forster as the effeminate guest
* Tony Corteggiani as Monsieur Berthelin, a guest
* Nicolas Amato as Cava, a guest from South America
* Jenny Hélia as Germaine, a servant
* André Zwoboda as André's engineer at the airport
* Camille François as a radio reporter (voice)

Production

Background and writing

In 1938 the French film industry was booming, and Renoir was at the height of his career. He had had three consecutive hit films and ''La Grande Illusion'' had won awards from the New York Film Critics, the National Board of Review and the Venice Film Festival. The financial success of ''La Bête Humaine'' made it easy for Renoir to secure enough financial backing to form his own production company. In 1938 he founded Nouvelle Édition Française (NEF) with his brother Pierre Renoir, together with André Zwoboda, Oliver Billiou and Camille François. All five invested 10,000 francs into the company and intended to produce two films per year. The company was modeled after the American film production company United Artists, which was formed in 1919 as a film distribution company for independent artists by Charlie Chaplin, Douglas Fairbanks, D.W. Griffith and Mary Pickford. Renoir rallied his friends in the film industry around the company and got financial support from René Clair, Julien Duvivier, Jean Gabin and Simone Simon. NEF's headquarters on the Rue la Grange-Batelière was sublet from Marcel Pagnol's production company. On 8 December 1938 Georges Cravenne published a press release in ''Paris-Soir'' announcing that Renoir and Pagnol were about to sign an agreement to procure a large theatre where they would publicly screen "the films that they would direct from then on". ''The Rules of the Game'' was the only film produced by the company.

In May 1938, Renoir completed the historical drama ''La Marseillaise'' and wanted to make a comedy. He was anxious about the Munich agreement and the strong possibility of another world war, and wanted to film a "happy dream" to subdue his pessimism. He wrote a synopsis for a film titled ''Les Millions d'Arlequin'', which had characters similar to those in ''The Rules of the Game''. When conceiving the film, Renoir was inspired by classical French art, such as the works of Pierre de Marivaux, Pierre-Augustin Caron de Beaumarchais and especially Alfred de Musset's play ''Les Caprices de Marianne'', which Renoir initially intended to adapt; NEF first announced the film as an adaptation of it. Renoir later said he never intended to directly adapt ''Les Caprices de Marianne'' but only to re-read it and other classics of French literature for inspiration.

After returning from lecturing in London in January 1939, Renoir left Paris to work on a script. He told a reporter that his next film would be "A precise description of the bourgeois of our age." Renoir, Carl Koch and Zwoboda went to Marlotte to work on the script. Because Renoir wanted to allow the actors to improvise their dialogue, only one-third of the film was scripted and the rest was a detailed outline. Renoir later said that his "ambition when I made the film was to illustrate this remark: we are dancing on a volcano". Renoir called the film a "divertissement" for its use of baroque music and aspects of classical French comedies. Renoir's initial inspiration by ''Les Caprices de Marianne'' led to the film's four main characters correlating with those of the play; a virtuous wife, a jealous husband, a despairing lover and an interceding friend. In both the play and the film the interceding friend is named Octave. Octave is also the only one of the four characters inspired by the play that shares traits with its counterpart. In both works, Octave is a "sad clown" full of self-doubt and self-pity. The characters' names constantly changed between versions of the script; Renoir said that in an early draft, André Jurieux was an orchestra conductor rather than an aviator.

Casting

Renoir originally wanted the entire cast of ''La bête humaine''including Fernand Ledoux, Simone Simon, Jean Gabin and Julien Carettefor the film. Gabin was offered the role of André but rejected it and accepted a role in Marcel Carné's ''Le jour se lève'' instead. He was replaced by Roland Toutain. Simon was offered the role of Christine but wanted 800,000 francs, which was a third of the film's entire budget. Simon's salary request was vetoed by NEF administrator Camille François. Ledoux was offered the role of Schumacher. He was married to Simon at the time; he declined when her salary request was denied and instead took a role in Maurice Tourneur's ''Volpone''. He was replaced by Gaston Modot. Claude Dauphin was offered the role of the Marquis de la Chesnaye; he refused it and instead acted with Simon in Raymond Bernard's '' Cavalcade d'amour''. Renoir then cast Marcel Dalio as the Marquis. Years later, Dalio asked Renoir why he had been cast after having typically played burlesque or traitorous roles. Renoir told Dalio that he was the opposite of the cliché of what a Marquis was and that Dalio was the only actor he knew that could portray the character's insecurity. Renoir's brother Pierre was cast as Octave, and Carette was cast as Marceau.

François suggested newly famous stage actress Michele Alfa for the role of Christine, and Renoir went with his common-law wife Marguerite and Zwoboda to see her perform in a play. While at the play Renoir noticed Nora Gregor in a box seat in the audience and asked about her during the intermission. He learned that Gregor was the wife of Prince Ernst Rüdiger von Starhemberg, an Austrian nobleman. Renoir became friends with Gregor and her husband, getting to know them over several dinners in Paris. Starhemberg was forced to resign his leadership role in the Heimwehra paramilitary fascist partybecause Gregor was Jewish and he was anti-fascist. When Germany annexed Austria in March 1938 Gregor and Starhemberg fled to France. Renoir said they were "in a state of great disarray. Everything they believed in was collapsing." Gregor was an actress from the Viennese ''Burgtheater'' and had appeared in some films, including Carl Theodor Dreyer's ''Michael''. Gregor's first husband had been the concert pianist Mitja Nikisch, son of the renowned conductor Arthur Nikisch of the Leipzig Opera and according to film theorist Charles Drazin, a possible inspiration for some characteristics of Octave.

Despite objections from his NEF colleagues, Renoir hired Gregor for the role of Christine. She was older than the original character, and he made changes to the character based on Gregor's personality and on their dinner conversations, such as making Christine the daughter of an Austrian conductor. Many of Renoir's friends believed he fell in love with Gregor shortly after casting her. Zwoboda said Gregor had "that which Renoir loved above all; an incontestable class, a style, the gestures and bearing of a great distinction". Renoir said he cast Gregor because of her Austrian accent, which he believed would create "a little barrier ... between her and her surroundings" and because of her appearance, which he considered "birdlike" and "sincere".

Renoir finished casting the remaining roles by late January 1939. When asked who the main character of the film was, Renoir answered: "There isn't any! My conception at the beginningand at the endwas to make a ''film d'ensemble'', a film representing a society, a group of persons, almost a whole class, and not a film of personal affairs."

Filming

Filming for exterior scenes set in the country began on 15 February 1939, in Sologne and outside the Chateau de la Ferté-Saint-Aubin. Renoir later said he chose Sologne because his father Pierre-Auguste Renoir "regretted that he had never been able to paint t How well I understand the sincerity of those regrets before these beautiful landscapes of Sologne, in astonishing colors, of a grace so melancholy yet so gentle." Renoir said Sologne's mist "took me back to the happy days of my childhood."

The cast and crew arrived in Sologne between 6 and 15 February.DVD, Production history Renoir's son Alain worked as an assistant camera operator and Dido Freire worked as the script girl. Renoir's assistants on the film were Koch, Zwoboda and Henri Cartier-Bresson. Tony Corteggiani was hired as a technical advisor for the rabbit hunting sequence. The cast and crew stayed at Hotel Rat in Lamotte-Beuvron. Heavy rainfall prevented the start of shooting in Sologne for several weeks and Renoir rewrote parts of the script to accommodate the rain.DVD, Oliver Curchod While he finished the script the entire company played cards and bonded; they described it as a happy time in their lives just before the horrors of World War II began. Paulette Dubost said shooting the film was great fun.DVD, Jean Renoir, David Thomson Omnibus

The delays caused Pierre Renoir to pull out of the film because of prior commitments to stage plays in Paris. Renoir then asked Michel Simon. When shooting in Sologne finally began progress was slow because of the constant improvisations of the actorswhich Renoir encouragedand Gregor's struggles with her role. Jay visited the set and was unhappy with the slow progress and with Renoir's performance. The cast and crew however admired Renoir and enjoyed the carefree atmosphere on set, forgetting about the impending political situation.DVD, Alan Renoir The cast's improvisations caused some changes from the original script. Christine was initially written as a bored, upper class bourgeois whose main preoccupation was planning parties, but Renoir amended this to accommodate Gregor's acting. Renoir also cut most of the references to Christine's conductor father Stiller, such as his relationship with the Marquis. The Marquis was initially written as a patron of the arts and music instead of a collector of music boxes.

Journalists often visited the set and wrote positively about the production. The film was shot almost chronologically in Sologne and again in Joinville, Val-de-Marne, which Renoir considered important for the actors' performances. Renoir said he did not need to do much directing since the actors were so involved in their roles.DVD, Jean Renoir, Le Patron When directing himself, Renoir arranged the performers movements first then acted in the scenes. Jay pushed Renoir to finish filming in Sologne and move the production to sets erected at the Pathé studios in Joinville. Renoir finally agreed and left Zwoboda, Corteggiani and Cartier-Bresson in Sologne to shoot B-roll footage of the rabbit hunting sequence. Hundreds of animals were killed during filming and local people were used as stand-ins for the actors.DVD notes, p.20

Filming on the sets in Joinville continued at a slow pace. Renoir would often film fifteen to twenty takes of individual shots and change dialogue on the set, making previous takes useless. Film historian Joel Finler said the film "truly ''evolved''" during its making, as Renoir worked on writing and rewriting the script, balancing and rebalancing the characters and relationships, plots and subplots." Cartier-Bresson said the improvisation during filming was like a jam session; both cast and crew members were encouraged to suggest ideas and dialogue would often change on the morning of the shoot.

On 16 March 1939, Germany invaded Czechoslovakia, breaking the Munich Agreement, which caused the French Army to start mobilizing in anticipation of a coming war. Shortly afterwards, several of the film's electricians and technicians left to join the army. Set designer Eugène Lourié left because he was Jewish and a communist, and Max Douy took over as the film's set designer.DVD, Max Douy

During filming, Renoir became disappointed by Gregor's performance. He began to cut her scenes and add new scenes for Paulette Dubost and Mila Parély. Film historian Gerald Mast found Gregor's performance to be "as haunting and bewitching as a plastic giraffe." During production, Jay told Renoir he hated his performance as Octave. Renoir offered to replace himself with Michel Simon, but Jay refused because two-thirds of the film had already been shot. Jay asked Renoir to instead remove Octave's scenes, which had not yet been shot. Renoir refused, and throughout shooting he added new scenes for Octave. Shooting in Joinville finally wrapped in May 1939; the film was over schedule and the rented soundstage was needed for other films. Renoir originally wanted to release the film in June because the potential war would make a post-summer release impossible.

Renoir continued shooting additional scenes with some of the actors. The opening scene at the airfield was shot in mid-June at the Bourget Airport in the middle of the night with whatever extras they could find. Renoir almost ran out of money when he filmed the car crash scene, which was shot very quickly with Alain Renoir as the camera operator. Renoir never liked the scene and initially removed it. The principal photography was nine and a half weeks over schedule when it finally wrapped in June.

Despite beginning the shoot in love with Gregor, Renoir's infatuation remained unrequited. During the film's production, he ended his relationship with Marguerite and began another with script girl Dido Freire, whom he had known for 12 years and was Alain Renoir's nanny. Eventually Dido married Renoir.

Release

Initial editing and previews

Renoir edited the film while shooting; his first cut was three hours long. He and editor Marguerite completed a 113-minute final cut of the film in July 1939. Jay hated it and demanded that Renoir make cuts, including the excision of Renoir's entire performance as Octave. Renoir refused to completely omit Octave but agreed to remove 13 minutes from the film.

''The Rules of the Game'' was the most expensive film produced in France when it was released. Its original budget had been 2.5 million francs (which already made it the most expensive French film of that year) and was increased by another 2 million francs, costing over 5 million francs total.

The film had an elaborate advertising campaign that began one week before its release in anticipation of it becoming another hit film for Renoir. This campaign included a promotional crossword puzzle published three days before the film's opening night; the prize for solving the puzzle was free tickets.

The first preview screening of the 113-minute version of ''The Rules of the Game'' took place on 28 June 1939. It received a poor reaction from the audience. On 29 June, the film was screened for the Minister of National Education and Fine Arts Jean Zay and for the jury of the annual Louis Delluc Prize for the best French film. When the awards were announced 10 days later, Marcel Carne's ''Le Quai des brumes'' won the first prize and ''The Rules of the Game'' was not a runner-up. Because of the success and popularity of Renoir's previous films, ''The Rules of the Game'' was highly anticipated, and Zay had expected to award it the prize. Renoir later said he thought the film would be commercially successful.

Release and reception

''The Rules of the Game'' premiered on Friday, 7 July 1939, at the Colisée Theatre in Paris to a full house and later at the Aubert Palace also in Paris. It was shown on a double bill with a patriotic documentary about French history. The audience at the screening consisted of members of the right-wing organisations, who booed after a while into the screening; Paulette Dubost said people at the screening fought, and one person tried to set fire to the theater. Renoir said he "depicted pleasant, sympathetic characters, but showed them in a society in the process of disintegration, so that they were defeated at the onset ... the audience recognized this. The truth is that they recognized themselves. People who commit suicide do not care to do it in front of witnesses."

In France, film attendance was typically low in July; ''The Rules of the Game'' ended its run at the Colisée Theatre after three weeks because of poor attendance. It later was shown at the Aubert-Palace in Paris. Renoir said of the attendance "I was utterly dumbfounded when it became apparent that the film, which I wanted to be a pleasant one, rubbed most people the wrong way." Renoir initially wanted to screen the film at the 1939 World's Fair in New York City, but this idea was abandoned after the disastrous release in France.

Claude Gauteur surveyed reviews of ''The Rules of the Game'' published in Paris and said 12 were "unqualifiedly unfavorable", 13 were "favorable with reservations", and 10 were "favorable." Many reviews criticized the film for being "unpatriotic, frivolous and incomprehensible." One mixed review came from Nino Frank of ''Pour Vous'', who called it "a copious work, even too much so, very complex and profoundly intelligent from one end to the other." ''Le Figaro'' called it a "bizarre spectacle" which was "one long succession of errors ... a heavy-handed fantasy with wooly dialogue." In the 1943 edition of ''Histoire du cinéma'', Robert Brasillach wrote that ''The Rules of the Game'' was among Renoir's most "jumbled" and "confused" films but applauded the biting satire, which he considered "Proustian." Brasillach also praised the technical variation employed by the director and said the film was an unrealized masterpiece. In the United States, a negative review from ''Variety'' said Renoir "attempts to crowd too many ideas into 80 minutes of film fare, resulting in confusion." According to François Truffaut, the film was very disconcerting to audiences at the time because of its peculiar atmosphere, which explains its commercial failure.

While the film received mostly unfavorable reviews, most critics praised the actingincluding Renoir's, and only the far right-wing press criticized Marcel Dalio's performance. In July 1939 a right-wing French newspaper criticized the film for portraying the Jewish Marquis married to the Austrian Christine. The Union Sacrée, a French clerical fascist group, organized demonstrations wherever the film was screened. Renoir was a known pacifist and supporter of the Communist Party, which made him unpopular in the tense weeks before World War II began. Years later Renoir said "there was no question of contrivance; my enemies had nothing to do with its failure. At every session I attended I could feel the unanimous disapproval of the audience."

In the weeks that followed the premiere, Renoir reduced the film's running time from its original 113 minutes to 100 minutes, then to 90 minutes and finally to 85 minutes. He told Margurite Renoir and Zwoboda to cut the scenes that the audience had found the most upsetting. Renoir said he mostly cut his own scenes or dialogue "as though I were ashamed, after this rebuff, of showing myself on the screen." He later defended his own performance as being awkwardthe way Octave should have been. The reduction in length removed Octave's complexity and completely changed the character's motives at the end of the film. In the 85-minute version, Octave does not intend to run away with Christine and merely lends André his coat for warmth before sending him out to the greenhouse. The omission of this item in the plot resulted in the misconception that the film has an alternative ending; this was first reported by Roger Manvell after he watched it at its London premiere in 1946. At one point, Jean Jay told Renoir to restore the film to the 100-minute version "to avoid commercial disaster", but none of the shorter versions improved its reception or attendance figures. When asked about the film's poor reception with audience members, Renoir said "I thought I was gentle with them, and they thought I was laughing at them."

In October 1939 ''The Rules of the Game'' officially was banned in France for being "depressing, morbid, immoral ndhaving an undesirable influence over the young." Other films that were similarly banned included Marcel Carné's ''Le Quai des brumes'' and ''Le Jour Se Lève''. The Ministry of Foreign Affairs stated "we are especially anxious to avoid representations of our country, our traditions, and our race that changes its character, lie about it, and deform it through the prism of an artistic individual who is often original but not always sound." ''The Marriage of Figaro'', one of the inspirations for the film, had been banned for similar reasons. After the end of World War II, the 85-minute version of the film was re-released in Paris on 26 September 1945, and it was banned again.

Renoir said that of all his films, ''The Rules of the Game'' was the biggest failure at the time of its release. He also said its failure "so depressed me that I resolved to either give up the cinema or to leave France." During shooting, Renoir was offered the chance to film an adaptation of ''Tosca'' by Italian producers; he agreed to the deal on 14 July 1939, and saw it as an opportunity to leave France. Renoir and Carl Koch traveled to Rome on 10 August for pre-production, but had to leave on 23 August after the German-Soviet pact made his French citizenship an issue. Koch directed the film instead and Renoir emigrated to Hollywood.

Rediscovery

In 1942, during one of the Allied bombings of Boulogne-sur-Seine, the G.M. Film Lab, which housed the original negative of ''The Rules of the Game'', was destroyed. In 1946, a print of the 85-minute version was found in a box, and a new print was made from it. This version was occasionally screened at film clubs, cinematheques and film festivals, and its reputation slowly began to grow. It finally premiered in New York City in April 1950, but it was critically unsuccessful. A review in ''The New York Times'' called it "one for the buzzards" and stated "the master has dealt his admirers a pointless, thudding punch below the belt." In 1952, the 85-minute version was included in ''Sight & Sound'' inaugural list of the 10 greatest films ever made.

In 1956, film enthusiasts Jean Gaborit and Jacques Maréchal founded the Société des Grands Films Classiques, a film restoration company focused on neglected films. ''The Rules of the Game'' was one of the company's early restorations; Gaborit and Maréchal persuaded Camille François to sell them the rights to the film. With François' help, they discovered records that led to 224 boxes that had been found at the bombed G.M. Film Lab site. These boxes included negative prints, duplicated prints, and sound mixes of the film. With the help and advice of Renoir and Jacques Durand, Gaborit and Maréchal restored most of the cut footage from Renoir's original version and assembled a 106-minute version of the film.

In mid-1959, Renoir saw the reconstructed version of the film for the first time and left the theater in tears. He said "there is only one scene missing in this re-construction, a scene that isn't very important. It's a scene with me and Roland Toutain that deals with the maids' sexual interest." The restored version premiered at the 1959 Venice Film Festival, where it was called a masterpiece. Claude Chabrol, Alain Resnais and Louis Malle were all in attendance and publicly called Renoir their master while praising the reconstructed version of the film. In 1961 Howard Thompson of ''The New York Times'' stated the film "completely justified its European reputation ... t isa memorable experience." Archer Winsten of the ''New York Post'' praised the film for "showing the corruption of French society from top to bottom" and a ''New York Herald Tribune'' review called it "a satire on French society ... a sharp criticism of social pretenses." The reconstructed version of the film was exhibited in France on 23 April 1965. It won the 1966 Bodil Award for Best Non-American Film/Best European Film (Bedste europæiske film) in Denmark.

Themes

''The Rules of the Game'' is remembered as a commentary on the moral callousness of the European upper class and their servants just before World War II. While making the film, Renoir knew a new world war was coming; he later said there was a sense of it in film, and wrote "it is a war film and yet there is no reference to the war". This sense of doom began just before shooting started in January when Barcelona fell to Franco and throughout the production when Prime Minister of France Édouard Daladier recognized Francoist Spain, Italy annexed Albania and Adolf Hitler prepared his Invasion of Poland. Renoir articulated this unmentioned theme of the film by saying:

what is interesting about this film, perhaps, is the moment when it was made. It was shot between Munich and the war, and I shot it absolutely impressed, absolutely disturbed by the state of mind of a part of French society, a part of English society, a part of world society. And it seemed to me that a way of interpreting this state of mind, to the world hopefully, was not to talk of that situation, but tell a frivolous story. I looked for inspiration to Beaumarchais, to Marivaux, to the classical authors of comedy.

Renoir wanted to depict people as they truly were at that point in history; he said ''The Rules of the Game'' was "a reconstructed documentary, a documentary on the condition of a society at a given moment". He believed this depiction was the reason behind the film's disastrous premiere, saying "the audience's reaction was due to my candour". ''The Marriage of Figaro'', an inspiration for the film, had also been considered controversial for its attack on the class system. ''The Rules of the Game'' remained controversial with the French public shortly after World War II when it was once again banned. Renoir's biographer Ronald Bergan said the film hit a raw nerve with the public by depicting "people, who might have had an influence in shaping the world, utdid nothing to prevent an advance of Fascism; some of whom, indeed, actually welcomed it".

The rabbit hunt scene is often compared to the senseless death that occurs during war; Renoir said he wanted to show a certain class of people killing for no reason. Renoir himself had never killed an animal and called hunting "an abominable exercise in cruelty". Bergan saw the analogy to world events and wrote "in the great set piece of the hunt, the callous cruelty of the guests is laid bare as they fire at any rabbit and bird that moves after the beaters have led the game to slaughter".

The film's most-quoted line of dialogue, spoken by Octave, is "You see, in this world, there is one awful thing, and that is that everyone has his reasons". Renoir's sentiment of objective humanism for the film's characters is articulated by Octave's remark and shows his empathy for the people he was simultaneously criticizing. Richard Roud

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