The Rules of the Game (The Criterion Collection) [Blu-ray]

The Rules of the Game (1939), arguably Jean Renoir’s masterpiece, is an absorbing experience. It’s basically a film about members of high society whose ignorance is on full display with petty behavior while being oblivious to the ‘real world’ around them. Instead of traditional love triangles seen in so many films, this is more like an octagon; there are lines and arrows that need to be drawn to keep track of who’s with who at any given moment, and their indecisiveness and immaturity playing out. What we get is an almost comical film that seems to work well. This film showcases some very neat camerawork that laid the foundation for experimentation in later films such as Citizen Kane, using deep focus as well. The Rules of the Game works well because of its first-rate script, fantastic acting, and impeccable direction. The Criterion Collection blu ray once again knocks it out of the park, with an excellent restoration and some neat special features. If you’re into 1930s classic films, or classic films in general, then The Rules of the Game is absolutely essential to your collection.

My favorite film. Indescribably so. Essential movie magic. Pure joy. Contrary to popular belief, you don't get to choose your favorite film after a period of considerable debate, your favorite film chooses you within the first five minutes. The Rules Of The Game is absolute perfection. Mammoth in feel and serenely beautiful in texture. The film is so perfect that it is unreal. A film lover's dream. The Rules of The Game is a comic tragedy that transcends and blooms. A film that is destined to glow. The Rules Of The Game burns bright and blooms still. An unending magic.It is the most remarkably photographed film of all time. This is not a matter of personal opinion, it is an irrefutable fact. The Rules Of The Game is utterly indispensable. It is the best photographed, the best choreographed, and the best written film ever made. Once again, FACT. If you have any doubts concerning the film's assembly, I must insist that have your brain checked immediately for you have obviously fallen gravely ill. Renoir's assembly is a flawless one, miraculous and magical. A slapstick tango of duality. A perfectly balanced choreography. Renoir's vision is that of the ballerina and the absurd tragedy.Stylistically speaking, The Rules Of The Game is a lesson in Jung's synchronicity. It is a mosaic piece. One where everything is glorious, glowing, and supreme. The Rules of The Game is a film beyond perfection. It is a deep focus glance into the magical realm of a warm and cascading infinity. Renoir casts several spells and The Rules Of The Game is bound to hypnotize by way of immaculate design.All of the performances in The Rules Of The Game are extraordinary but there is one that towers over the rest. Marcel Dalio as Marquis Robert de La Chesnaye is one of the most inspired and perfect performances of all time. Dalio is an incredibly gifted actor with a strong and viable understanding of character. He plays a man who collects mechanical toys and trinkets. Some of his toys are quite boring, some are frenzied, most are unsettling, and all of them bring him happiness and security. It is a mostly quiet pleasure derived from the inanimate, the inarticulate, and the nonsexual. His most prized possession is a manic jukebox of light and sound, dolls and noise. It is a giant music box that he showcases with great pride, almost with honor and a hint of patriarchal approval. The people he surrounds himself with are also mostly mechanical. They are robotic and Dalio takes great joy in winding them up. He is the king of the playground and everything is his toy, all a part of his collection. Dalio's performance is one of extreme care and perfection. Evenly balanced with hilarity and sincerity, Dalio glows. A perfect performance for a perfect film.The Rules Of The Game means the world to me and is the definitive reason why I love film. It is pure magic and very special. A one of a kind movie miracle. The Rules Of The Game is the best film of all time. Easily. Indescribably so. Magically.

For a film that endured so many indignities such as massive cuts shortly after its release and then complete destruction during the Second World War Criterion did as good a job as possible on the best master that has been uncovered so far. The picture quality of this restored film which comes closest to Renoir's vision isn't perfect with imperfections on many frames but it could have been a lot worse like the very poor alleged restoration by Kino of  Les Vampires: 2-Disc Kino Classics Edition [Blu-ray ]. The sound quality is also pretty good with little obvious noise. While this film is well made I personally don't think it is as great as say  Seven Samurai (The Criterion Collection) [Blu-ray ] or even Carne's  Children of Paradise (The Criterion Collection) [Blu-ray ] but it is still a good film not only for Renoir's great storytelling and unique framing of shots - at one point at the beginning of the hunting scene I felt as if I was at an art gallery watching a quick succession of wonderful paintings - but also for the very hard-hitting but seemingly timeless premise that mankind will do terrible things to maintain a status quo and that it will always find ways to justify these horrible deeds.In one of the excellent special feature interviews we get Renoir himself talking about how easily mankind are willing to sacrifice innocents just to keep up a belief or a way of life that is threatened in any way which is shown in the final tragic scenes as well as the hunting scene. Also exposed are the double standards where the bourgeousie appear to get away with behaviour deemed not acceptable among the peasants. Even today when people in order to preserve even "religious" beliefs feel it is justified to kill innocents or in fighting terrorism collatoral damage among the innocents is also deemed acceptable. Compare this with the sacrifice of virgins to appease "gods" like solar eclipses for example throughout ancient history. This film as a true classic appears to remain relevant today and in a way unfortunately remains timeless. The marquis' obsession and love of inanimate toys leading to his neglect of his long-suffering wife who craves attention and an ideal of romantic love that her husband cannot provide as well as the jealous love of a gameskeeper for his wife who clearly doesn't love him in return that leads to tragic consequences run parallel among various storylines thoughout this film alternating between comedy and tragedy which is probably what led to the rejection of the film by the public upon its release who couldn't really understand just what to make of this film. One line near the end when the marquis asks his head servant to put and end to the farce and the retort was "which one sir?" very aptly sums up the almost screwball nature of this comic tragedy.Overall this is a classic film and while not perfect and certainly not the best Criterion release is still probably the best version that is out there and likely to be for some time to come.

Ce film a connu une histoire qui lui fournit une aura particulière : lancé et très mal reçu en juillet 1939, ses négatifs sont détruits pendant la Guerre puis, à partir de fragments retrouvés, il est reconstitué en 1959 non pas par le réalisateur Jean Renoir mais par deux admirateurs. La version produite alors est plus longue que l’initiale d’une bonne dizaine de minutes! C’est celle qu’on voit aujourd’hui.La profondeur de champ y est utilisée de manière exceptionnelle : à plusieurs reprises, l’action au moyen plan d’où provient le dialogue est complétée ou contrastée par des échanges muets en arrière-plan. Plusieurs considéreront toutefois que cela ne suffit pas à justifier la réputation de chef d’œuvre dont jouit le film. En effet, il présente plusieurs lacunes fondamentales :• il faudrait être bien coupé de la réalité pour considérer que les oisifs dont il traite font partie de la classe dirigeante de 1939 que Jean Renoir affirme avoir voulu critiquer; on y trouve un marquis (!) et un général assez âgé pour être à la retraite puis on ne sait rien des autres, y compris la profession ou même le nom de famille d’Octave, sans doute le personnage principal; en fait, ils rappellent par leur désœuvrement et leur attitude blasée les quinquagénaires retraités qui abondent de nos jours en France;• les acteurs sont trop vieux et mal choisis pour les rôles qu’ils jouent ; c’est particulièrement vrai pour la marquise, celle qui l’incarne faisant preuve d’un registre dramatique décidément restreint; c’est tout aussi vrai pour le marquis qui apparaît plutôt efféminé (et ce n’est pasun élément de l’intrigue) ainsi que pour Octave, le personnage joué par Jean Renoir lui-même, qui prend trop de place, au propre comme au figuré;• les décors intérieurs sont en carton-pâte et éclairés de manière trop vive pour que cela soit le moindrement plausible;• l’intrigue n’est jamais résolue : un homicide est commis, personne n’appelle la police ou un médecin, tout le monde va se coucher … et c’est tout.Pour ce film, Jean Renoir a agi à la fois comme producteur, réalisateur, scénariste et acteur. De toute évidence, la tâche était trop grande : le scénario était apparemment loin d’être complété au début du tournage, celui-ci a coûté presque deux fois plus cher que prévu, le calendrier a été largement dépassé et le lancement n’a pu avoir lieu qu’en juillet, alors que l’été s’amorçait.Jean Renoir affirmait détester la chasse, élément central du film. Il est cependant difficile de le croire opposé à toute violence puisqu’il avait personnellement embrassé la carrière militaire en 1913 au sortir de ses études. Gravement blessé à la jambe, sa convalescence lui a permis de découvrir le cinéma. Il est retourné au combat par la suite, en fait dans des unités de reconnaissance aérienne qui lui ont permis de se familiariser avec la photographie. Par ailleurs, il ne semblait pas réaliser qu’il faisait lui-même partie des privilégiés, ayant apparemment financé une partie de ses films en vendant plusieurs tableaux peints par son célébrissime père Auguste, dont il avait hérité.De plus, les opinions politiques de Jean Renoir sont déroutantes : il flirte avec le Parti communiste en 1936 et 1937 mais part tourner en Italie mussolinienne à l’été 1939; par la suite, il quitte la France pour les États-Unis, juste avant l’occupation nazie. Par ailleurs, il a embauché Vera Gregor pour jouer le principal rôle féminin de « La règle du jeu ». Dans la vie, il s’agissait de l’épouse d’un prince autrichien réfugié en France depuis 1938 qui était d’allégeance fasciste mais qui s’était brouillé avec Hitler.Quelques commentaires sur le coffret DVD :• les images du film (en noir et blanc) sont superbement restaurées;• les suppléments sont généreux, substantiels et diversifiés : émissions de télé des années 60 avec Jean Renoir et ceux qui ont reconstruit le film, entrevues avec son fils Alain Renoir, avec des universitaires, avec Mila Parély qui joua le rôle de la maîtresse du marquis, etc.• soulignons que le commentaires scène par scène, en anglais, est lu avec un débit excessivement rapide, au point qu’il est difficile à suivre.Globalement, il serait malhonnête de recommander ce film bancal à quiconque, sauf à ceux qui tiennent à porter leur propre jugement quant à la réputation élogieuse que plusieurs lui font.

Very funny and good.

Everything went perfectly.