A weekend at a marquis’ country château lays bare some ugly truths about a group of haut bourgeois acquaintances.
A weekend at a marquis’ country château lays bare some ugly truths about a group of haut bourgeois acquaintances.
Nora Gregor Paulette Dubost Mila Parély Odette Talazac Claire Gérard Anne Mayen Lise Elina Marcel Dalio Julien Carette Roland Toutain Gaston Modot Jean Renoir Pierre Magnier Eddy Debray Pierre Nay Richard Francoeur Léon Larive Nicolas Amato Henri Cartier-Bresson Celestin Tony Corteggiani Geo Forster Roger Forster Camille François Jenny Hélia André Zwoboda Jacques Beauvais Maurice Marceau
游戏的规则, Pravilo igre, Правилата на играта, Pravila igre
"I want to disappear down a hole."
"So I no longer have to figure out what's right and what's wrong."
Effortless. Runs like clockwork; fluid yet structured, chaotic yet motionless. Characters dash and fight and cheat and kill but they never seem to get anywhere, lost in the labyrinthine maze of the house and confined by the forest surrounding their meaningless passions. Like the singular hunting sequence in the middle of this masterwork, it's elegant until the ramifications are visualized, hilarious until a body falls limp, whimsical until the dust settles and the cleanup begins. By the time shadows are seen strolling in line, an internal vigil cast against the moonlight, 'FIN' overwhelms the frame, ending the apocalyptic countdown. Consistently known as one of the greatest of all films, its magic lies in its absurdity and refinement; an unforgettable mix of melancholy and farce.
Film #29 of Project 30
”The awful thing about life is this : Everybody has their reasons.”
Jean Renoir's intricate look at the morally bankrupt French society of 30s is full of delicate details, it is not just a movie about the spiritual and ethical downfall of the French aristocrats or the dirty and disordered nature of the relationship between various social classes, the most amazing thing about The Rules of the Game is that Renoir successfully manages to explain something that many films, essays and books have failed to explain: What paved the way for Adolf Hitler to start a decade long madness which took millions of lives and ruined a whole continent? For Renoir it was the hypocrisy,…
“Men are so naïve”. Jolly souls moving towards an abysm. Good manners hide the most destructive of all war films.
Another evolving-taste flip-flop: I used to prefer Grand Illusion because it's more thematically blunt, now prefer this because it's much more knotty and subtle (albeit still pretty blunt in spots). Plus, it's just riotously entertaining, much more so than I recalled. MORE LIKE EVERYONE HAS THEIR CRAZY SELF-INVOLVED BULLSHIT AMIRITE. (Spoiler: Iamrite.) Blasphemous missing half-star is mostly due to Nora Gregor, who's too bland to serve as a credible object of passion for every man in sight; how I wish Arletty had played the role instead. If you have the Criterion disc, be sure to watch the supplement detailing the differences between the 81-minute post-premiere cut and the 106-minute restoration (arguably the first false "Director's Cut"; it's 12 minutes…
Corneille! Put an end to this farce!
Which one, your lordship?
Jean Renoir's The Rules of the Game is complete chaos, but it is controlled chaos, a mess so saturated with meaning that it will take me several viewings to attempt to fully understand all the nuances in the film.
Nearly every character in the film is vain and self-absorbed, and they all carry a sense of entitlement that allows them to play mercilessly with others' feelings. The few people who aren't part of the spoiled bourgeoisie - the idiotic aviator who's in love with a married aristocrat, the trigger-happy groundskeeper, and Octave with his forced joviality - are nevertheless often unlikable, if only because their sincerity is wasted in…
Jean Renoir's The Rules of the Game has been assembled with a tremendous amount of heart and makes the most of its deep characterisations from its screenplay with sharply written dialogue. It operates by embodying specific and different aspects to enhance and deepen the narrative with their juxtaposition as it follows various members of upper-class French society together with their servants just before the beginning of WWII and excavates empathy and humour in their many absurdities; however, it's not an isolated component which makes this a great film, but rather their aggregation.
It beautifully summons and apprehends many moments of satire and drama as it spotlights particular idiosyncrasies and small-mindedness to the extent that only a master like Renoir could…
Criterion Collection Spine #216
(Foreign language film)
(Quest to Conquer the BFI/AFI Greatest Films of All Time Lists)
An amusing early take on a cinematic soap-opera, which is now honored as a landmark achievement in how films are show
"Corneille! Put an end to this farce! ... Which one, your lordship?"
So I imagine that many of the people that come to watch Jean Renoir's The Rules of the Game, do so since it is ranked as one of the top films of all time. While I appreciate what an achievement this film was back in 1939. It is not the kind of film I would consider as one of the greats, and was more of an 'academic watch' for…
I don’t care; it wasn’t good. First hour was laborious at best, and just constantly uninteresting. Satire wasn’t rich, deep, or funny enough to engage with, and surfacely it was a dull. Then the party scene happens and I’m brought to life for 30 minutes before it meanders it’s way to a completely ridiculous conclusion, and then I’m reminded I don’t care about any of this. 2 stars for that delightful 30 minutes of cross weaving narratives, absurd chases, decelerations of love, all done in a mad-cap cocaine binge energy. But that’s all. I know it helped birth a genre, and like, I’m sure most people just fondly remember that 30 minutes, but literally everything else was painful to sit…
not a cell phone in sight. just rich people killing some rabbits and talking shit about each other, living in the moment. wish we could go back.
// sensitive hearts, faithful hearts
who shun love whither it does range
cease to be so bitter
is it a crime to change?
if cupid was given wings
was it not to flitter? //
// if i don't see her again, i'll die //
regarded as one of the greatest films ever made, - or as brian so aptly put it, the citizen kane of french film - the rules of the game is a portrayal of love (or many loves?) that often gets caught up in other meaningless, meandering subplots and uncomfortable moments. the case study of people's intentions and motives seems to be unbelievable here; inaccurate, without morality, without care.…
Upper-class idiocy, cultural insensitivity and moral ambivalence displayed through two sides of the same coin — the goldmine of satire in the naive perspective of a boundless aristocracy, and the drama it inevitably entails, not just in the context of Renoir’s characters, but in the eventual shaping of The Second World War. It’s no wonder this is the greatest film ever made to critics and filmmakers alike, it can be read clearly on two distinctive terms — a foray into backstabbing farce the likes of which had never been seen before, and an eerie prophecy of the elitists’ inabilities to make anything in the way of a rational decision, the 1939 release date serving as the staple to its prophetic…
Part of the Film School Dropouts Challenge
Week 7: French Poetic Realism
The Rules of the Game is a simple yet complex ensemble film with biting satire and clever social commentary on the rules of the bourgeoisie upper-class society. Every character is so caught up in their own little world, their own intricacies and flirts, and becomes blind to the world around them and the class beneath them. It is a film both funny, depressing and absurd with a truly memorable hunting scene and a powerful last act, and Renoir subtly directs the film to a tee with a series of long shots catching the entire game. It's a bit overhyped, but its nevertheless great entertainment and storytelling.
An anthropological look at the lives of a group bourgeoise French society people, that focuses in on the relationships between a select few, with the centerpiece of the film being a farcical party that plunged into pure chaos, and it’s fantastic because of how much the links between these characters are built up.
Super rich kids with nothing but fake friends!
A bold blend of war and romance and a perfect example of the leaps and bounds made in the front of filmmaking during the 1930s, from editing, to serious acting to the miniscule details of sound-design: 'The Rules of the Game' never fails in being a great showcase for what's possible when you have an idea and a movie camera.
Gamekeeper chases the domesticated poacher around the house with a gun and takes shots at him, and it’s only a minor dispute.
33. The Rules of the Game
“The Rules of the Game taught me the rules of the game” - Paul Schrader
Admittedly, this film is nothing short of a masterpiece. It’s the French Citizen Kane, better yet, Citizen Kane is the American Rules of the Game, seeing as how the latter came out 2 years prior. Renoir was creating cinema that was way ahead of its time. The way he’s using huge sets to orchestrate the the actors in unique ways and interweaving scenes together smoothly and seamlessly is astounding. I honestly can’t think of a film from this era that can compare to its technical beauty. The acting is remarkable, with even Renoir himself delivering a great performance. I can understand the immense respect this film has historically, and I’m now beginning to understand the importance Renoir’s work had on the cinema. I look forward to watching more of his films.
Ljudi koji se lože na francusku kulturu misle da ista izgleda baš ovako
Što je baš ironično u kontekstu filma, zar ne?
Inače letterboxd mi se sam od sebe isključio više puta dok sam pokušavala da napišem ovo, da li to nešto znači 👀
run, rabbit, run!
"considered by many to be one of the greatest films of all time..." who is calling it that? Yosemite Sam???
I mean...idk. I really appreciated a lot of what this film was doing. The whole thing felt very elaborate and well constructed, and the fact that this was made in 1939 makes that all the more impressive. There were a few sequences in particular that were especially entertaining.
But as a whole, it just didn’t really connect with me. It’s probably my fault more than the movies, and hopefully when I rewatch it sometime in the future I’ll appreciate it more, but for now, I just couldn’t really get into it. Oh well.
despite falling asleep halfway through i honestly did find it entertaining watching all their rich white ppl problems play out lol. there were so many characters tho that i literally could not keep up with who was sleeping with who 😭
This is such a great screenplay. I liked a lot of the actors too, and there’s a lot of them.
I could probably go back and forth between this and Grand Illusion forever as to which one is Renoir’s finest work. An excellent film with a fascinating story in its own right. You can understand how the French audience disliked this on release, finding it too cutting, as it rips into the excesses of the bourgeoisie society of the time.
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