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La règle du jeu (1939)

A bourgeois life in France at the onset of World War II, as the rich and their poor servants meet up at a French chateau.

Director:

Jean Renoir

Writers:

Jean Renoir (scenario & dialogue), Carl Koch (collaborator) (as Koch)
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2 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Nora Gregor ... Christine de la Cheyniest (as Nora Grégor)
Paulette Dubost ... Lisette, sa camériste
Mila Parély Mila Parély ... Geneviève de Marras
Odette Talazac Odette Talazac ... Madame Charlotte de la Plante
Claire Gérard Claire Gérard ... Madame de la Bruyère
Anne Mayen Anne Mayen ... Jackie, nièce de Christine
Lise Elina Lise Elina ... Radio-Reporter (as Lise Élina)
Marcel Dalio ... Marquis Robert de la Cheyniest (as Dalio)
Julien Carette ... Marceau, le braconnier (as Carette)
Roland Toutain Roland Toutain ... André Jurieux
Gaston Modot ... Edouard Schumacher, le garde-chasse
Jean Renoir ... Octave
Pierre Magnier Pierre Magnier ... Le général
Eddy Debray Eddy Debray ... Corneille, le majordome
Pierre Nay Pierre Nay ... Monsieur de St. Aubin
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Storyline

On the brink of WWII, the record-breaking aviator, André Jurieux, safely lands at a small airport crammed with reporters, only to come face to face with his worst fear: the object of his desire, Christine--a blonde noblewoman and wife of the affluent Marquis de la Cheyniest, Robert--is not there to greet him. Intent on winning her back, André accepts his friend Octave's invitation for a lavish hunting weekend at the aristocrat's palatial country estate at La Coliniere, among hand-picked guests and the mansion's servants; however, intrigue, rivalries, and human weaknesses threaten to expose both royalty and paupers alike. Who will breach the unwritten rules of the game? Written by Nick Riganas

Plot Summary | Add Synopsis

Taglines:

One of the two or three greatest films ever made in France.

Genres:

Comedy | Drama

Certificate:

9 | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France

Language:

French | German | English

Release Date:

8 July 1939 (France) See more »

Also Known As:

The Rules of the Game See more »

Filming Locations:

Aubigny-sur-Nère, Cher, France See more »

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Box Office

Budget:

FRF 5,500,500 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (DVD)

Sound Mix:

Mono (Western Electric)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

"La Règle du jeu" is the only movie that has always been in the top 10 of Sight & Sound recurring poll "The Greatest Films of All Time": #10 (1952), #3 (1962), #2 (1972), #2 (1982), #2 (1992), #3 (2002), #4 (2012). ("Citizen Kane", for instance, was #11 in 1952. However it was then consistently #1 from 1962 to 2002 and #2 in 2012.) See more »

Goofs

After the last characters arrive at the castle when it is raining, Christine and Robert de la Cheyniest say "We will organise a party in a week, after the hunt." However the same evening, Robert says "Let's go to bed, because tomorrow...", implying the hunt will be the following day. And indeed the next sequence is the hunting scene the day after. This because the script was still being modified during the shooting of the movie, hence timelines sometimes varied. See more »

Quotes

André Jurieux: Thats also part of the times, today everyone lies.
See more »

Alternate Versions

Film historians Jean Gaborit and Jacques Durand salvaged excised and unused footage and created a new longer version, presented at the 1959 Venice Film Festival. Where the original theatrical version was 91 minutes long, the new 1959 version was 106 minutes long, over fifteen minutes longer than the original cut. See more »

Connections

Referenced in Peter von Bagh (2016) See more »

Soundtracks

Tout le long de la Tamise
(uncredited)
Written by Eugene Rosi
See more »

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User Reviews

A critique of French society between the wars
6 July 2004 | by Rave-ReviewerSee all my reviews

A weekend party assembles at the château of the Marquis de la Chesnaye. Among the guests André, an aviator, is in love with the Marquis's wife, Christine; the Marquis himself is conducting an affair with Geneviève; Octave, an old family friend, is also secretly in love with the Marquise. Meanwhile a poacher, appointed servant by the mischievous Marquis, comes to blows with the gamekeeper over the latter's flirtatious wife.

The set-up may remind one of The Shooting Party or Gosford Park, but the debt is naturally in the present film's favour. Rather, the upstairs-downstairs intrigue, the mingling of comedy with drama, and the setting prior to cataclysmic social/political change owe much to Beaumarchais's Le mariage de Figaro. Which explains the hostility of audiences and government alike on the film's release; it was cut, then banned outright, and not reconstituted until well into the 1950s.

To tap the source of the disquiet aroused by this superficially fluffy piece of bedroom farce ('Surely just the French doing what they do best?'), one must look beyond the typical observation that it was 'socially insidious because it was a clear attack on the haute-bourgeoisie, the very class who would shortly lead the troops against the Germans'. The auto-critique goes deeper than that.

Consider. The lower orders are no better than their irresponsible masters: the women are no less immoral, the men just as concerned to preserve their foreheads from cuckoldry. This is the culmination of Figaro's contract with the Count: he enjoins the latter to behave like an honest man, as befits his station; two centuries later, not only has the nobility welshed on the deal, it has brought the servant classes down with it. Renoir serves up for the French a portrait of a society which is rotten from top to bottom. 'The Rules of the Game' are: keep up appearances, and somehow the whole charade will be preserved indefinitely (barring Adolf and his Panzers, that is).

André, the aviator, the crosser of the Atlantic (distance, perspective), is the one who threatens the edifice. Being Christine's lover is not enough; she must elope with him, it must be 'honest'. If she does this she will be showing that feelings matter more than money and position. The choice is too much for her and she runs for cover with Octave, and thus sets in motion the mechanism by which everything ends in tragedy but the status quo is maintained, for now.

The working out of this theme in Renoir's hands leads to some striking juxtapositions of tone. Renoir the 'humanist', like Octave whom he plays, was a lover, and forgiver, of humanity. It was not in him to condemn without affection. In one scene the gamekeeper chases his rival through the drawing room discharging a pistol, while the guests barely look up from their cards: he is merely playing by the rules, after all. It was perhaps the coexistence of farcical sequences like this with the wanton slaughter of wildlife in the hunt scene that audiences found hard to take. Renoir himself wrote: 'During the shooting of the film I was torn between my desire to make a comedy of it and the wish to tell a tragic story. The result of this ambivalence was the film as it is.' Amen.


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