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Home , Adieu Philippine, Army of Shadows, Baccara, Catherine Hessling, French Cancan, La Chienne

Index

All title references are to films unless otherwise indicated

accents lectures, “Cinéma et société,” 316 inclusion, 75–76 and The River, 313, 323–324 Southern, 76 Aguet, William, 59 acceptance, philosophy of, 322, 325, “À la belle étoile” (song), 207–210 326 Aldrich, Robert, 43 actor Algeria, 463, 464 art of, 73–85 alienation, 567 capturing performance, 77–79 Althusser, Louis, 380 as central to aesthetic, 75 Altman, Georges, 334, 386, 486 as co-author, 82–83 Amazing Mrs. Holliday, The, 522 actor-network theory (ANT), 471n.2 American cinema, championing, 377 Actors’ Studio, 84 American films of Renoir, 514–529 adaptation, 303–309 as interlude, 388 see also theatrical adaptations “strangeness,” 514–515 “Addiu o Nna Maria” (song), 446, 451 An American in (Minnelli), 261, 380, Adieu Philippine (Rozier), 364 550 aesthetic of discrepancy, 73–75 L’Amour à vingt ans (Ishihara et al.), 362 aesthetics, 3–4 analytical editing, 17 to politics from, 403–410 Andersen, Hans Christian, 113–114 Agee, James, 544 Anderson, Judith, 74 Agel, Henri COPYRIGHTEDAnd GodMATERIAL Created Woman see Et Dieu … approach to cinema, 313, 314–316 créa la femme’ books André, Jean, 100–101 Le Cinéma a-t-il une âme?, 317 Andrew, Dudley, 385–386, 402–403, 515 Le Cinéma et le sacré, 318 Andrex Poétique du cinéma, 315 in La Marseillaise, 415

A Companion to , First Edition. Edited by Alastair Phillips and Ginette Vincendeau. © 2013 Blackwell Publishing Ltd. Published 2013 by Blackwell Publishing Ltd.

0001975657.INDD 592 3/20/2013 7:22:22 PM Index 593

performance style, 70 cultural, 206 in Toni, 446 improvised, 76 Angèle (Pagnol), 70, 405, 445 average shot lengths (ASLs), 36–37, 42 animals, inclusion, 76–77 aviation, 162 Anna Christie (Brown), 547 L’Avventura (Antonioni), 375 Antonioni, Michelangelo, 375 Ayfre, Amédée, 316, 318, 326n.2 Anschluss, 458 antifascism, 329, 331, 463, 506, 520 babies, inclusion, 76 Antik, Alan, 507 Baby’s Laxative see On purge bébé anti-Semitism, 9, 159–160, 459, 474–491 (Mirande), 150 “apache dance” (valse chaloupée), 202, Bachelet, Jean, 180, 184 216 Baisers volés (Truffaut), 360, 361 apperception, 113, 117 Bal Mabille, 111 apportionment, 537–538 Bardot, Brigitte, 81, 265 Aragon, Louis, 331 Bataille, Sylvia cultural patriotism, 331–332 in Le Crime de Monsieur Lange, 81, 266 on La Marseillaise, 332 in , 66, 297, 384 Renoir and, 331, 333–334, 372, 399 Bataillon du ciel (novel), 509 speeches, 331, 335 Baugé, André, 39 Archimbaud, Antoine, 41 Bazin, André Ardisson, Edmond, 415, 431–432, 440 on adaptation, 303–309 Armes, Roy, 383 advocacy for Renoir, 378–379, 387–388 Army of Shadows see L’Armée des ombres books Arnoul, Françoise, 256, 258 Jean Renoir, 2, 3, 358, 378–379 art, and politics, 248–250, 410–415 Qu’est ce que le cinéma?, 292, 293, 378 art cinema, direct sound in, 49 on Le Crime de Monsieur Lange, 401, 407, artificial, interplay with natural, 309–310, 409 381, 468 essays artificiality, 88–89, 103 “Cinematic Realism and the of society, 247 Italian School of the artists (in Renoir films), 270–288 Liberation,” 294 in army of revolution, 283–285 “Découpage,” 300–301 disempowered, 285–288 “French Renoir, The,” 293 as good for nothing, 271–274 “Les deux époques de Jean marginalized and silenced, 274–278 Renoir,” 294 in reserve army of labor, 279–280 “Montage,” 307 as savior, 280–282 on filters, 295 in wartime, 282–285 on framing in Renoir, 295–301 arts, filmmaking and, 5–6 on reality, 167, 173, 174, 294–295, 317 Ascenseur pour l’échafaud (Malle), 365 and La Règle du jeu, 149, 467 asparagus, 468–469 on Renoir as moralist, 317 Astor, Junie, in Les Bas-fonds, 67 on Renoir’s American films, 334–336, 528 L’Atalante (Vigo), 58, 61, 70, 381 on Renoir’s style, 21–22 Aubert Palace cinema (Paris), 351–352 and River, The, 166–174, 313, 323 Autant-Lara, Claude, 96 Truffaut and, 358–359, 361, 379 authenticity, 59, 417 writing in, 301–303

0001975657.INDD 593 3/20/2013 7:22:22 PM 594 Index

Becker, Jacques, 43, 399, 406, 483, 527 depth staging, 18–19, 24–25 Bed and Board see Domicile conjugal ending, 24 Belot, François, 456 filmographic details, 576 belote, 456–457 ideology, 228–229, 231 Bennett, Joan, 545–547, 549, 551 interior scenes, 61 Bergman, Ingmar, 370 male desire, 446 Bergstrom, Janet, 517, 553n.9 misreading, 278 Berlin, in 1930s, 208–209 music, 192, 278 Berry, Jules narrative, 226–228, 566 accent, 65 opening shot, 16–20 in Le Crime de Monsieur Lange, 409 Pan and nymph scene, 566 Bertin, Célia, 384, 401 prologue, 227 Berubet, Magdelaine, performance remake see Down and Out in Beverly Hills styles, 75 scene changes, 42 Beylie, Claude, 499–500 self-presentation in, 380 Bickford, Charles, 545, 547 shifting frames, 24–25 see Ladri di biciclette shot-type percentages, 40 BiFi film library, 134 social relations narrative, 566, 568–569 Billancourt studio, 38–41 songs, 278, 279 see also Boulougne studio; Boulogne- soundtrack, 231 Billancourt studio as star vehicle, 444 Billard, Pierre, 444–445 street-shooting, 381 binoculars, views through, 160 success, 234 Bitch, The see theatrical staging in, 295 Black Narcissus (Powell and visual fantasy, 231 Pressburger), 382 Boudu sauvé des eaux (play), 226–228, Blanchar, Pierre, 527 230–231, 234 Blavette, Charles boulevard plays, 61–62, 110, 224, 226 in Toni, 64, 405, 445–446, 451 central theme, 227 in La Vie est à nous, 73 Boulogne-Billancourt studio, 254 Bleustein-Blanchet, Marcel, 467 see also Billancourt studio; Boulogne Blum, Léon, 280, 486 studios Blum–Byrnes Agreements, 334, 527 Boulogne studios, 100 Boitel, Jeanne, in Chotard et Cie, 233 see also Billancourt studio; Boulogne- Borel, Suzanne, 352 Billancourt studio Bost, Pierre, 410 Bourgoin, Jean, 83 Boudu (Jugnot), 556 Boyer, Charles, 501 Boudu sauvé des eaux (Boudu Saved from Brando, Marlon, 81 Drowning), 60–61, 226–231 Brassaï, Georges, 194 animal sequences, 77 Braudy, Leo, 383–384 artisanal approach, 404 Braunberger, Pierre, 38–39, 53, 113, 292, artist portrayal in, 274, 277–278, 280 384, 404 Chotard et Cie compared with, 233–234 Braunberger–Richebé, 38–40 cinematography, 186, 191–193 Brecht, Bertolt, 56, 208–209, 242, 381, 506 community endorsement, 562 Breen, Joseph, 563, 565 as continuation of La Chienne, 277 Breen, Thomas, in The River, 170, 174n.2 critical reception, 230 Brialy, Jean-Claude, 359, 372

0001975657.INDD 594 3/20/2013 7:22:22 PM Index 595

Bride Wore Black, The see La Mariée était en Céline, Louis-Ferdinand, 484–485 noir censorship, 137–138, 352–354, 560–565 bridge, 457 during occupation, 334, 353–354 (Lean), 375 elimination proposed by Renoir, 411 Brouquier, Marius, 63 Centre culturel du cinéma et de la Bruant, Aristide, 206 télévision de , 316 Brunius, Jacques B., 381 Cervoni, Albert, 340, 341, 343 in Partie de campagne, 66 Ce soir (newspaper), 331, 336, 399, 495 Buchsbaum, Jonathan, 402 “C’est la nuit de Noël” (song), 207 Buffet, Eugénie, 206, 258–259 Cézanne, Paul (son of painter), 182, 497, Buñuel, Luis, 318, 556 515, 526 Burch, Noël, 387, 408 CGT, 280, 285, 412–413 Burguet, Henry, 226 Chabrol, Claude burlesque, American, 223 as director, 370 Burning Giraffe (painting), 549 on Renoir, 370–371 Champagne, Pierre, 80 Café de Paris (Mirande), 150 chanson des rues, 205 Cagnes-sur-mer, 499, 515 chanson réaliste, 5–6, 209, 216, 258–259 Cahen d’Anvers family, 489 chanteuse réaliste, 194, 206 Chaplin, Charlie, 42, 317, 375 budding policy, 307 Renoir and, 154, 371–372, 411, 414, 518 postwar rehabilitation of Renoir, Chardère, Bernard, 383 515–516 Charensol, Georges, 185 regard for Renoir, 337, 359, 381–382 Charleston (dance), 112–113 on Renoir’s politics, 401 Charleston Parade see Sur un air de Charleston Callinicos, Alex, 425 Charpin, Fernand, 235n.5 Camden, 528 in Chotard et Cie, 74, 232–233, 234 Camelots du Roi, 486 Chat Noir , 206 Cameron, Ian, 376 Chéreau, Patrice, 351 Campany, David, 182 Chéret, Jules, 263 cancan, 99, 111, 261–265 Chérettes, 263 capitalist discourse, 566–567 Chéronnet, Louis, Capra, Frank, 391 on La Règle du jeu, 349, 350 Carette, Julien, 476–477 Chiari, Mario, 91 Carné, Marcel, 208, 419 Chinese box effect, 93 Cartier-Bresson, Henri, 180, 189, 195, 196 Chotard et Cie (Chotard and Company), camera of choice, 186 232–233 and Partie de campagne, 180, 197n.2 acting style, 74 and La Règle du jeu, 180, 197n.2, 458–459 Boudu sauvé des eaux compared with, and La Vie est à nous, 180, 197n.2 233–234 Casque d’or (Becker), 202 censorship, 354 Cassavetes, John, on markers, 83 as commissioned project, 404–405 Castanyer, Jean, 33n.1, 59, 406, 408 critical reception, 233, 234 casting, 73–75 failure, 234 Catherine, 72, 76, 573 filmographic details, 576 Cavell, Stanley, 188, 313 opening, 61–62, 233 celebrity, 251 voice and speech, 56

0001975657.INDD 595 3/20/2013 7:22:22 PM 596 Index

Chotard et Cie (play), 232, 234 contemplation Cinecittà studio, 38, 91, 381 cinema of, 315–316 ciné-clubs, 316, 365 politics of, 323–326 Ciné-Liberté, 331, 399, 411, 412–413, 416, 426 Contempt see Le Mépris cinema Continental production company, 499 of contemplation, 315–316 cork theory, 77, 320 cultural power, 310 costume dramas écriture (writing) of, 315 French, 95 of signification, 315 Renoir, 88–103 of spatial continuity, 315 Count of Monte-Cristo, The (Vernay), 95 spiritual enrichment from, 316–317 Courant, Curt, 180, 183 of temporal discontinuity, 315 Courmes, Marcel, 41 “village of,” 498, 499 Criterion Collection, 389–391 cinéma de papa, 516 La Bête humaine, 141 Cinémathèque française La Règle du jeu, 389 move, 134 River, The, 389–390 Renoir/Renoir exhibition, 134 critical canon, 6–7 cinematography, as new form of printing crystal image, 23–24 press, 188 Cinémonde (film journal), 185 Daladier, Édouard, 417 cipher grid, 294, 300, 301 Dalban, Max circus attractions, 257 accent, 65 (Welles), 375–376, 378, in Boudu sauvé des eaux, 448 387–388 in La Chienne, 64, 448 (Chaplin), 375 in Tire au flanc, 448 Clair, René, 185, 518, 525, 527 in Toni, 64, 447 classicism, 147, 160 in La Vie est à nous, 73 classics, 62–63 Dalio, Marcel, 354, 474 class relations, 22, 444 acting style, 73 class solidarity, 446, 447, 478 autobiography, 476–477, 483 Claveau, André, 257 in , 474, 475, 476–486 Club de femmes (Deval), 158, 210–214 in La Règle du jeu, 474, 475, 477, 486–489 Colisée cinema (Paris), 351–352 Dali, Salvador, 549 Collins, Richard, 377 dance, showcasing, 78–79 Colmar, 122 Daquin, Louis, 343 colonialism, 156, 160 Darnoux, Georges, in Partie de color, 89–90 campagne, 66 Comédie-Française, 78, 85n.4, 226 Das Cabinet des Dr Caligari (The Cabinet of comique troupier, 220, 223 Dr Caligari) (Wiene), 109, 378, 551 Comité de libération du cinéma français Daudet, Alphonse, 503 (CLCF), 334, 527 Dauphin, Claude, 507 commedia dell’arte, 89–94, 240–244 Davis, Colin, 313–314, 403, 419 Comolli, Jean-Louis, 431 Davis, Frank, 524, 548 co-naissance, 318 Daybreak see Le Jour se lève connaissance, 318 A Day in the Country see Partie de campagne connectedness, 538 Dead Sea (painting), 551 Conte, Gian Biagio, 365 Dean, James, 81

0001975657.INDD 596 3/20/2013 7:22:22 PM Index 597

Dearly, Max, 202 direct sound Dearly, Mistinguett, 202 as actor-centered technique, 41–45 death, 466–467 in art cinema, 49 de Bretagne, Joseph, 41 methods of 1930s, 37, 38, 48–49 decadence, 246 as norm in French cinema, 54, 199–200 Decaë, Henri, 366 Renoir’s experimentation with, 205–206 decor Renoir’s preference for, 36, 59, 75 as enlightenment, 102–103 Doinel, Antoine, 360 as producer of meaning, 95, 102 Domicile conjugal (Truffaut), 360–361 découpage, 304, 308 Douy, Max, 90, 96–97, 100–101 de-dramatization, 202, 205, 216 Down and Out in Beverly Hills (Mazursky), Defoe, Daniel, 550 278, 555, 556–560, 568–569 Degas, Edgar, 490 drame mondain, 150 de Gaulle, Général Charles, 127–128, 501, “dream films,” 551 503, 508 dream sequences, 407, 548–551, 553n.9 Delamare, Rosine, 96 Die Dreigroschenoper (Pabst), 209 Deleuze, Gilles, 23–24, 313, 314, 316 Dreyer, Carl, 315, 317 analysis of Renoir’s style, 23–24 Dreyfus affair, 475, 489–490 Delmont, Edouard, 446 dubbing, 527 De Matteis, Maria, 92 Du côté d’Orouët (Rozier), 81 de Maupassant, Guy, 65, 384 Dullac, Paul, 415–416 Depression, 148 Dunne, Philip, 507 in, 46, 274, 460 Durbin, Deanna, 522 depth staging, 20–24 Durgnat, Raymond, 384 De Sica, Vittorio, 317 Duvivier, Julien, 527 desire, 446–447 Des Vallières, Jean, 466 East of Eden (Kazan), 81 Détroyat, Michel, 162 Eastmancolor, 96 dialectical tensions, 89 Ebert, Roger, 390 dialogue, intelligibility, 48 Einstein, Carl, 63 Diary of a Chambermaid, The Eisenstein, Sergei, 315, 379 casting, 74 Eisler, Hanns, 208–209 failure, 528 Éléna et les hommes filmographic details, 581 Éléna as commodity, 251 production, 528 as fantasy, 89 release in France, 527 filmographic details, 583 remake, 556 freedom in, 248 reviews, 335–336, 367, 391, 514, 528 music, 45 script, 527 narrative, 99 Diary of a Country Priest see Journal d’un curé opening, 99 de campagne plot, 244 Die Jagd nach dem Glück (Koch and reviews, 337–338, 367–368 Reininger), 72 set design, 88–89, 99–103 Dietrich, Marlene, 82, 213 songs, 216 difference, delineation of, 536 stage within stage, 244 digestivism, 324, 325, 326 success, 100 director monographs, 382–383 theater vs. life in, 244–247

0001975657.INDD 597 3/20/2013 7:22:23 PM 598 Index

Elevator to the Gallows see Ascenseur pour Film und Foto exhibition, 185 l’échafaud films, lists of greatest, 375–376 Élina, , 467 film studies, 376–382, 384–388 Eliot, T. S., 388 Flaherty, Robert, 307, 315, 317, 497, 506, ellipsis, 132–134, 135 518, 519 elocution, proper, 54 Flamant, Georges Elsaesser, Thomas, 570 accent, 65 Elusive Corporal, The see Le Caporal épinglé acting style, 56 embedded framings, 24–25 Flaubert, Gustave, 62, 386 emotion Flight South project, 500, 519–521 expression through soundtrack, 121 (Odette Rousseau), 209 faked, 82 in Le Crime de Monsieur Lange, 207–208, emulative allusion, 364–367 209–210 English, the, 457–459 Flowers of Saint Francis see Francesco, ensemble films, 150, 431 giullare di Dio Entente cordiale (L’Herbier), 458 Folies-Bergère, 209 erotic spectacle, 262–263 Fontan, Gabrielle, in Partie de campagne, escape films, 121–122 66 Esnault, Philip, 302 footstep sounds, 44 essentialism, 314–315 see Jeux interdits Et Dieu … créa la femme (Vadim), 464 Ford, John, 318, 391 ethnographic documentary, 166, 168 formalization, 245 Europe ’51 (Rossellini), 296 400 Blows, The (Truffaut), 362, 363 Exodus, The, 497, 519 framing, 24–28, 295–301 Experiment in Evil see Le Testament du Francesco, giullare di Dio (Rossellini), 296 Docteur Cordelier Francoeur studio, 96 expressive objects, 81 Freed, Arthur, 550 freedom face, qualities, 183, 190 love and, 250–251 factories, 459–461 necessity and, 245 Fahrenheit 451 (Truffaut), 360 Freire, Dido, 335, 495, 496–498, 515, Fauchois, René, 61, 219, 226–228, 404, 559 523–525 Faulkner, Christopher, 384, 402, 445, 506, 517 camera movement, 96–97 La Règle du jeu round table, 144–165 closing sequence, 264 FDIC, 529 feminist critique, 256, 260 Fellini, Federico, 239 filmographic details, 582 Ferdinand, Roger, 232–233, 405 finale, 99 Feuillade, Louis, 202 Frenchness, 265–266 Feydeau, Georges, 89 as musical comedy, 89 On purge bébé, 53, 57, 224–225, 234 narrative, 256–257 fidelity, 187 posters, 263 film, and thinking, 313–314 reviews, 255–256, 337, 371 filmed theater, 39, 61 self-presentation in, 380 popularity, 39 set design, 88–89, 95–99 see also theatrical adaptations sexual politics, 260–265

0001975657.INDD 598 3/20/2013 7:22:23 PM Index 599

shooting style, 264 gender relations, in Renoir films, 387, 408, songs, 206, 216, 257–259 450–451, 559–560 success, 95, 255 general strike, 285 theme, 95 German expressionism, 570 as “woman’s film,” 260 Gigi (Minnelli), 380 (PCF), 328–343 Girard, René, 314 anti-Americanism, 335 Giroud/Gourdji, Françoise, 122 artists and, 342–343 Godard, Jean-Luc, 102–103, 342, 371–372 and cultural activity, 281 Goddard, Paulette, 528 documentary see La Vie est à nous Godden, Rumer, 170, 174n.3, 305, 319, intellectuals and, 329–330, 342 382, 534 la main tendue policy, 329 Golden Coach, The see Le Carrosse d’or obituaries of Renoir, 340–342 Gold Rush, The (Chaplin), 375 as political force, 342 Goldwyn, Sam, 518 reception of Renoir’s films, 330–340, 343 Good Woman of Szechwan, The (play), 242 American films, 334–337 Gorki, Maxim, 66, 67, 412, 414 French films of 1930s, 330–333 Goupi Mains-Rouges (Becker), 527 French films of 1950s, 337–338 Granval, Charles, in Boudu sauvé des eaux, late films, 338–340 226, 228, 231, 446 French film aesthetics, modern, 81 Grégor, Nora, in La Règle du jeu, 347, 446, see New Wave 488 French Revolution, 284, 332, 416, 425, 481 Griffith, D. W., 379 French society, exploration, 65 Groupe Octobre, 330, 406, 410 French talking cinema, invention, 53–70 Gueule d’amour (Grémillon), 353 Fresnay, Pierre, in La Grande Illusion, 127, Guitry, Sacha, 226, 227 412 Freud, Sigmund, 387 Hakim, Robert and Raymond, 556 Friedrich, Caspar David, 550 Halley des Fontaines, André, 406 “Frontist” organizations, 506 hallucination, 60, 113, 115–116, 118–119, 551 Gabin, Jean Hart, William S., 410 in French Cancan, 207, 256, 260 haute bourgeoisie, 271, 274, 286, 458, in La Bête humaine, 183, 386, 418 474, 487 in La Grande Illusion, 478, 483, 486 Jewish, 475, 480 in Les Bas-fonds, 67, 412, 413 Hays Office, 522, 560–562, 564, 565 performance styles, 70, 75 Heartbeat (Pagnol), 62 Gabriello, André Hélia, Jenny, 415, 446 in Les Bas-fonds, 67 Helm, Brigitte, 80 in Partie de campagne, 66 Henry-Haye, Gaston, 503 Gallimard, Gaston, 386, 405 heroines, Renoir’s, 250–252 game and play see play Hessling, Catherine, 72, 77–78, 80, 109, games, rules and, 248–250 366, 456 Gandhi (Attenborough), 382 in Nana, 109–111 Gaumont, 413, 467 in La Petite Marchande d’allumettes, 114 Gaut, Pierre, 445 in Sur un air de Charleston, 111–113 Gauteur, Claude, Renoir inventory, 402 in Tire au flanc, 117

0001975657.INDD 599 3/20/2013 7:22:23 PM 600 Index

Heymann, Claude, 221 India hierarchies, breaking down of, 155–158 first feature film in Technicolor, 166 historical gaze, 433–434, 436, 438 in The River, 168, 173, 305, 382 historicity, as uncertainty, 28–31 in Western films, 382 history, mise en scène of, 20–32 India (Rossellini), 382 Hitchcock, Alfred , 250, 338, 559, 567–569 and French New Wave, 356 Insdorf, Annette, 360, 361–362 hyper-control, 82 integrity, hypocrisy versus, 89, 90–91 as planner, 147 Internet Movie Database (IMDb), 390, 391 television series, 72–73 invisibility, 193 as Truffaut mentor, 358 Isherwood, Christopher, 506 Hogan, Michael, 548 Italian films, Toni compared with, 48 Hold Autumn in Your Hand (novel), 534 An Italian Straw Hat see Un chapeau de paille Hollywood d’Italie Production Code, 517, 560, 561, 563 Italian style, 81 progressive consensus, 506 Itkine, Sylvain, 483 homelessness, 536 homosexuality, in French films of 1930s, Jean Renoir (Cauliez monograph), 382 158–159 Jeanson, Henri, 416, 499 Hôtel du Nord (Carné), 158–159, 353 Jeux interdits (Clément), 510 Houllé-Renoir, Marguerite, 66, 137, Jewish Resistance, 486 142n.9, 331 Jews Huggins, Johnny, 78, 111–112 recognition as citizens, 481 Human Beast, The see La Bête humaine Vichy policies against, 354, 489 Human Desire, 555, 556–565 see also anti-Semitism censorship, 560–561 Jofroi (Pagnol), 50, 445 ending, 561 Johnson, Lydia, 260 reviews, 557, 558, 560 Joinville studio, 96 source novel, 558 Journal d’un curé de campagne (Bresson), 319 human elements, Renoir’s use of, 116–118 Journey to see Viaggio in Italia humanism, 379–380 Jouvet, Louis, 127, 506 Hunchback of Notre Dame (Dieterle), 504 in La Grande Illusion, 415 hunting, 159, 430, 437–438, 461, 462, 466, in Les Bas-fonds, 67, 412, 413 488 Joyce, James, 388 hypocrisy, integrity versus, 89, 90–91 Jules et Jim (Truffaut), 362 Julius (play), 359 , heroines’, 250–252 identity politics, 470 Kanin, Garson, 507 ideology, culture and, 565–569 Kaplan, E. Ann, 559–560, 562, 565–567 “Il était un petit navire” (song), 482–483 Kavalier Scharnhorst (novel), 466 illusion, truth of, 92–95 Kazan, Elia, 80, 81, 82 L’Illustre Maurin (Hugon), 50 Keaton, Buster, 223 Impressionists, 89, 100, 489–490 Kelber, Michel, 96–97 improvisation, 81, 82, 135, 146, 385 Kessel, Joseph, 509, 510 Independent Salon of Photography, Koch, Karl, 510 184–185 Kosma, Joseph, 66, 123, 208, 210, 213, 483

0001975657.INDD 600 3/20/2013 7:22:23 PM Index 601

Koudria, Georges, in La Nuit du carrefour, sound synchronization problem, 134, 59 138 Kramer, Stanley, 391 spatiotemporal clarity, 211 Krauss, Werner, 78, 79, 109 spatiotemporality, 31, 32 Kyrou, Ado, 381 success, 351, 419 theme, 200 La Bandera (Duvivier), 207 versions, 140–141 Labiche, Eugène, 220 La Bête humaine (novel), 132, 210, 214–215, La Belle équipe (Duvivier), 446 386, 417, 419, 558 La Belle Otéro (Pottier), 96 La Chienne La Belote (film project), 456 artist portrayal in, 274–277, 278, 280, 281 La Bête humaine, 131–141, 417–420 bathroom sequence, 564 censorship, 136, 353, 420 censorship, 561–565 Le Crime de Monsieur Lange compared cinematography, 194 with, 419 community endorsement, 562, 565–566 ending, 32, 214 dance, 202 filmographic details, 579 feminist reading, 559 French Society exploration, 65 filmographic details, 575–576 location shooting, 418 final sequence, 299, 561–562 music, 47, 54, 211 as first masterpiece, 404 naturalism, 417–419 footstep sounds, 44, 55 on-set photography, 183 interior scenes, 61 opening sequence, 30, 32, 211 as manifesto for sound cinema, 54 oppositions, 214 as melodrama, 444 philosophical reading, 314 music, 54, 202–205, 299 plot, 131 narrative, 274–276 political reading, 314, 398–399, 419–420 off-screen sound, 44–45, 55 popular appeal, 341 opening scene, 298–299 publicity material, 139 performative theme, 58 release, 351 prologue sequence, 308–309 remake see Human Desire puppet show, 565 Renoir as actor in, 68–69, 72 realism, 205 Renoir on, 418–419 remake see reviews, 386 as Renoir’s career turning-point, rural outsiders, 450 307–308 screenwriting, 215, 216n.2 reviews, 559–560, 562 scripts, 134–135 scene changes, 42 set design, 418 songs, 47, 54, 200–207, 209, 211, Séverine murder, 131–141 215–216, 276 hypotheses, 135, 136–138 sound, 41, 44, 54–55, 308–309, 567 investigation, 134–135, 136, 138–141 source novel, 54, 308, 404, 558 “missing scene,” 132–134 as star vehicle, 444 scene summary, 131–132 street-shooting, 381 script archives, 134–135 theatrical staging in, 295 social world portrayal, 568 theme, 200 songs, 54, 132, 137–138, 200, 210–216 voice and speech, 56–58

0001975657.INDD 601 3/20/2013 7:22:23 PM 602 Index

Lachize, Samuel, 338–339, 340, 341 script rewrite, 42 Lacombe, Lucien (Malle), 145 showing to Mussolini, 496 “La Complainte de la butte” (song), 259 silence, 123–124, 130 La Dernière Classe (story), 503 songs, 200, 476, 482–483 La Direction d’acteur par Jean Renoir sound effects, 44, 122–123 (Braunberger), 81 spatiotemporality, 30 Ladri di biciclette (De Sica), 48, 375 success, 415, 484 Lady in the Lake (Montgomery), 551 theatrical staging in, 295 La Fille de l’eau, 80, 109, 111, 184, 550, 573 La Maison du Maltais (Chenal), 477 La Fouchardière, Georges de, 54, 308, 404, La Mariée était en noir (Truffaut), 360 558 La Marseillaise, 425–441 La Grande Illusion (Grand Illusion), 121–130, agency in, 434 476–486 aristocracy in, 288 adaptation, 412 artist portrayal in, 280, 283–285 anti-Semitism, 474–475, 476–486 awkwardness, 428–429 as antiwar, 282 Brunswick Manifesto scene, 435–438 aristocracy in, 288 censorship, 353, 354 artist portrayal in, 282–285 ending, 30 black character, 160 filmographic details, 579 bonding third language, 127–129 financing, 285–286, 399, 402, 413, 426 Le Caporal épinglé compared with, likability of characters, 428–432, 440 376–377, 510–511 Louis XVI portrayal, 426–431, 435–439, Cartier, 476–477, 479–481, 486 441 casting, 415, 476–477 movement of history, 28 censorship, 353, 354 music, 45, 433 ending, 29–30, 362 opening, 428 English culture in, 457 politics, 285, 415–416, 426 filmographic details, 578–579 popular appeal, 341 financing, 402 reception, 426 foreshadowed by Tire au flanc, 224 La Règle du jeu and, 153 French Society exploration, 65 Renoir on, 349, 439 frontiers theme, 546–547 reviews, 386, 416 irony, 481, 482, 483, 484 roundedness of characters, 434 Jews in cast and crew, 483 rural outsiders, 450 as masterpiece, 1 selection of Renoir to direct, 413 movement of history, 29 setting changes, 42 as multilingual film, 124–127 shifting frames, 26–28 nativity scene, 283 significance, 288 opening shot, 16–18, 20 social critique, 427 political reading, 398 sociopolitical context, 426 popularity, 375–376, 391 songs, 283–285, 438–439 realism, 481 spatiotemporality, 30–31 reviews, 334, 484–485 theatricality, 429–430, 437 revival, 252, 509 understanding (of characters), 437–439 romance, 125–127, 129 vision (of characters), 438–439 Rosenthal, 476–485 women in, 415

0001975657.INDD 602 3/20/2013 7:22:23 PM Index 603

“La Marseillaise” (song), 283–285 relationships, 155–159 Lamotte-Beuvron, 461–462 revision, 146–147 Lang, Fritz, 82, 449, 547, 551–552, 555, 558 scenes of note, 152–157, 160–161 as auteur, 559, 570n.3 cultural references, 470n.1 directorial style, 568 depth staging, 20–21 remakes of Renoir films, 555, 558, as document of everyday life, 148 559–569 ending, 30, 163–165, 362, 465, 488 La Nuit du carrefour, 59–60 fans, 341 artisanal approach, 404 festivities, 448 cinematography, 186 filmographic details, 579–580 filmographic details, 576 framing in, 28, 118, 300 location sound, 60 French Society exploration, 65 music, 60 game and play in, 118 nonprofessionalism of actors, 56, 59 homosexuality, 158–159 rabbits, 465 hunting, 159, 462, 466, 488 reviews, 386 knowledge produced for audiences, 454 self-financed by Renoir, 58 and Les Caprices de Marianne, 240 La Petite Lise (Grémillon), 41 as light-hearted drama, 349–350 La Petite Marchande d’allumettes, 78, male desire, 446 113–116, 404 La Marseillaise and, 153 dream sequence, 550 as masterpiece, 1 filmographic details, 574 as milieu de mémoire, 455 game and play in, 113–116 mirrorings, 150, 155 innovation, 185 moral aspects, 317 Lapierre, Marcel, on La Règle du jeu, 349, music, 46, 457 350 narrative method, 154 La P’tite Lili (Cavalcanti), 72 neorealism, 387–388 La Règle du jeu, 454–470, 486–489 plot, 243 acting, 147 political reading, 398–399 aesthetic of circumstances, 309 production company, 365 and Les Amants, 366 reception, 7, 149, 151–152, 347–354, 495 anti-Semitism, 159–160, 479, 485, release, 351–352 486–489 “remake,” 556–557 aristocracy in, 288, 486–488 Renoir as actor in, 69–70, 72, 277 artist portrayal in, 285–288 Renoir on, 349 camera-work, 145–146, 366, 368 Renoir as producer, 136 Le Carrosse d’or and, 147 restoration, 252, 253n.12 as catastrophe for Renoir, 150–151 reviews, 151, 341, 348–351, 371 censorship, 352–354, 420 rules and games in, 248–250 cinematography, 186 rural outsiders, 450 colonialism, 156, 160 screenplay, 302 critical round table, 144–165 sexual/gender relations, 387 canonization of film, 149 shots through aperture, 19–20 changed views, 144–145, 147 as social inventory of our time, 456–470 concluding thoughts, 163–165 belote, 456–457 first impressions, 144–145 English, the, 457–459

0001975657.INDD 603 3/20/2013 7:22:23 PM 604 Index

La Règle du jeu (cont’d) La Grande Illusion compared with, factories, 459–461 376–377, 510–511 Lamotte-Beuvron, 461–462 , 376 pre-Columbian art, 462–464 reviews, 238, 340, 376–377 rabbits, 464–467 as war film, 510–511 Radio-Cité, 467–468 Le Carrosse d’or vitamins, 468–470 coach as emblem, 248 songs, 215 Commedia dell’ arte and, 241–242 stage within stage, 244 failure, 91 temporal references, 161–162 fans, 341 theater vs. life in, 244–247 as fantasy, 89 theatrical staging in, 295, 309 filmographic details, 582 Toni compared with, 444–445 manifesto quality, 381 touch in, 533–534 off-screen sound, 38 La Revue nègre (musical), 78, 111, 112 plot, 243–244 L’Armée des ombres (Melville), 510 politics in, 248–250 La Route est belle (Florey), 39 La Règle du jeu and, 147 “La Sérénade du pavé” (song), 203, reviews, 336, 371 204–206, 209, 211, 257, 259 self-presentation in, 380 La Sirène du Missisipi (Truffaut), 362 set design, 88–95 , 445 sexual relations, 387 La Tosca project, 495, 496, 518 songs, 216 Latour, Bruno, 471n.2 sound, 75 Laughton, Charles, 503–506, 523 stage within stage, 244–245 Laurel and Hardy, Renoir and, 154 theater vs. life in, 244–247 Laurent, Hugues, 33n.1 Le Carrosse du Saint Sacrement (play), 241 La Vie est à nous Le Chanois, Jean-Paul, 334, 343, 399, CLCF members and, 334 401–402 filmographic details, 577–578 Le Chemin de Rio (Cargaison blanche) as militant cinema example, 340 (Siodmak), 73 music, 45 “Le Coeur de Ninon” (song), 132, 137–138, for PCF electoral campaign, 330 210–214 performance styles, 74 Le Comte de Monte-Cristo (Vernay), 95 as propaganda film, 65, 328, 333, Le Crime de Monsieur Lange (The Crime of 388–389, 399 Mr Lange) rabbits, 464–465 as anticolonial, 160 Renoir on making of, 333, 411 artist portrayal in, 280–282, 284 League of American Writers, 506–507, La Bête humaine compared with, 419 517 casting, 209, 406 Léaud, Jean-Pierre, 360, 361 censorship, 353 Le Bled, 53, 160, 575 cinematography, 186, 194–196, 407 Le Caporal épinglé depth staging, 22 accents, 75, 76 dreaming motif, 407 communication beyond linguistic ending, 24, 29–30, 362, 406–407, 547 boundaries, 126–127 alternate, 409 filmographic details, 584 expressive object, 81

0001975657.INDD 604 3/20/2013 7:22:23 PM Index 605

festivities, 448 songs, 213 filmographic details, 577 sound, 54 Laurel and Hardy reference, 154 Le Puritain (Musso), 353 movement of history, 28–29 Le Quai des brumes (Carné), 67, 353, 381, music, 45, 207 419–420, 449 philosophical reading, 314, 406–408, 410 Lerczinska, Séverine, in Boudu sauvé des political reading, 314, 398, 406, 408–410 eaux, 227–228 politics in, 282, 285, 330 Le Rouge et le noir see The Scarlet and the Black reviews, 386, 409–410 Les Amants (Malle), 364–367 screenplay, 208, 406 Le Schpountz (Pagnol), 62 shifting frames, 25–28 Les Bas-fonds, 66–68 songs, 47, 207–210, 215–216 Les Caprices de Marianne (play), 240 sound, 567 Les Diaboliques (novel), 552 spatiotemporality, 31–32 Les Enfants dans l’orage see Flight South theme, 200 project women in, 266, 408–409 Les Enfants du paradis (Carné), 381 Le Déjeuner de bébé (Lumière), 76 Les Grandes manoeuvres (Clair), 95 Le Déjeuner sur l’herbe (Rohmer), 368 ambient sound, 36 Le Silence de la mer (Melville), 126 camerawork, 338–339 Le Silence de la mer (novella), 126, 505 critical reception, 338–339 Leslie, Nan, 545, 547 ending, 362 (Truffaut), 362, 363 filmographic details, 583 “Les Petits Pavés” (song), 257, 259 location shooting, 83 Les 400 coups () (Truffaut), reviews, 368 362, 363 sound, 54 Les Tricheurs (play), 477 Le Gendre de Monsieur Poirier (Pagnol), 41 Lestringuez, Pierre, 184, 456 Le Journal d’une femme de chambre Le Testament du Docteur Cordelier (Buñuel), 556 camerawork, 338–339 Le Jour se lève (Carné), 73, 381, 458 creative self in, 239 remake, 556–557 critical reception, 338–339 Leenhardt, Roger, 410, 414–415 filmographic details, 583 Lehmann, René, 468 media hybridity, 388 Lehrstücke (Brecht), 381 multiple-camera shooting, 49 Leica camera, 184, 185 Renoir as actor in, 72 Le Mépris (Godard), 372 Le Tournoi dans la cité/Le Tournoi Le Million (Clair), 204, 375 (Tournament in the City), 53, 75, Le Nozze di Figaro (opera), 351 575 “Le Père La Victoire” (song), 257 Levert, Jacques, 63 Le Petit Chaperon rouge (Cavalcanti), 72 Levesque, Marcel, in Le Crime de Monsieur “Le Petit Coeur de Ninon” (song), 132, Lange, 207 137–138, 210–214 Le Vigan, Robert, in Les Bas-fonds, 67 Le Petit Théâtre de Jean Renoir Lévin, Sam, 183 filmographic details, 584 Lewin, Albert, 550 media hybridity, 388 Lhomme, Pierre, 359 Renoir as actor in, 72 lieux de mémoire, 455

0001975657.INDD 605 3/20/2013 7:22:23 PM 606 Index

Life is Good (Florey), 39 Magnani, Anna, in Le Carrosse d’or, 241, Life is Ours see La Vie est à nous 242, 336 Lindbergh, Charles, 161–162, 458, 464, “Malbrough s’en va-t-en guerre” (song), 201 467, 468 male predators, 65 Little Match Girl, The see La Petite Marchande Malle, Louis, 364–367 d’allumettes Manet, Julie, 490 Little Red Riding Hood (Cavalcanti), 72 Manvell, Roger, 557 Little Theatre of Jean Renoir, The see Le Petit Marchais, Georges, 340 Théâtre de Jean Renoir Marèse, Janie, in La Chienne, 57 Litvak, Anatole, 556–557 Marie Antoinette (Van Dyke), 430 location shooting Marius (Pagnol), 307 realism and, 59 Marivaux, Pierre de, 240, 351 Renoir’s preference for, 43 Marken, Jane, in Partie de campagne, 66 Lola Montès (Ophuls), 341 markers, 83 Long Night, The (Litvak), 556–557 , 185, 574 Lotar, Eli, 180 Marriage of Figaro, The (play), 157 Lourié, Eugène, 43–44, 173–174, 183, 418, Martigues, 190, 445 501, 503 Marxism, 425 love, freedom and, 250–251 Masculin, feminin (Masculine Feminine) (Ishihara et al.), 362 (Godard), 81 Lovers, The (Malle), 364–367 masculinity, troubled, 450–451, 452, 564, Lower Depths, The see Les Bas-fonds 566–567 Lumière brothers, 79 Matras, Christian, 180 Lumière d’été (Gremillon), 145 Maupassant, Guy de, 296 Maurin, François, 342 “Madame Arthur” (song), 257, 258–259 Ma vie et mes films (autobiography), 47–48, Madame Bovary 356, 391, 465, 477 adaptation, 62–63 Mayen, Anne, 462–463 censorship, 354 Mazursky, Paul, 278, 555, 556–560, 568–569 as commissioned project, 405 McCarthy, Joseph, 529 failure, 386 McLuhan, Marshall, 379 filmographic details, 577 melodrama, 444 financing, 405 Mendes, Catulle, 489 location shooting, 405 mentalités, 9 music, 45, 46, 54 Meredith, Burgess, 507, 528 off-screen sound, 38 Mérimée, Prosper, 241 on-set photography, 184 métèque, 487 Renoir as co-producer, 405 Method acting, 80–81 representational perspectives, 63 Metropolis (Lang), 80 reviews, 386 Milhaud, Darius, 45 scene changes, 42 military vaudeville see comique troupier shots through aperture, 19 Millandy, George (Maurice Nouhaud), 213 sound, 41, 63 Minnelli, Vicente, Renoir compared with, voices, 63 380 Madame Bovary (Minnelli), 380 Mirbeau, Octave, 335 Made in U.S.A. (Godard), 342 mirroring, 94–95, 104n.6, 150, 155

0001975657.INDD 606 3/20/2013 7:22:23 PM Index 607

Mischief Makers, The see Les Mistons Nash, Paul, 551 misogyny, 225, 227, 232–233, 256, 260 nationalism, progressive, 426 see La Sirène du Missisipi natural, interplay with artificial, 309–310, Mistinguett, 202 381, 468 Mizoguchi, Kenji, 315 naturalism, 75–77, 80, 81, 386, 405, 415, Modern Times (Chaplin), 408, 411, 414 417–420 Modot, Gaston, 366 nature, filtered through culture, 566 , in French Cancan, 256, 265–266 necessity, freedom and, 245 Monod, Martine, 336 NEF, 365 Monsieur Brotonneau (Esway), 352 neorealism, 388, 445–446 Monsieur Verdoux (Chaplin), 239 Neveux, Georges, on La Règle du jeu, 351 Montalvan, Celia, 445, 446 New Wave, 7, 340 Montand, Yves, 343 Renoir and, 356–373 Moreau, Jeanne, 213, 265, 366 continuum between, 363 Morocco (von Sternberg), 213 influence, 357 Mouézy-Éon, André, 54, 116, 220, 308 “intertextual debt,” 364–372 , 202 and television, 371–372 in French Cancan, 89, 97–98, 206, 255, Nichols, Dudley 264–265 friendship with Renoir, 506, 521 Moulin Rouge (Huston), 261, 337, 371 letters from Renoir, 522, 529 Movie (magazine), 376 and Scarlet Street, 558 Mr Poirier’s Son-in-Law see Le Gendre de and The Southerner, 522–523 Monsieur Poirier and This Land is Mine, 503, 505, 525 multilingualism, 124–127 Nicholson, Jack, 81 multiple-camera shooting, 49 see La Nuit du Agreement, 386, 463, 495–496 carrefour music, 45–47 Nizan, Henriette, 408–409 in French films of 1930s, 199, 204 None so Blind (novel), 546, 547, 548, 552 orchestral underscore, 45–46 Norman, Barry, 376 source, 45–46 Notebooks of Captain Georges, The, 377, 391 type percentages, 46 Notorious (Hitchcock), 550 use by Renoir, 45–47, 200–201 novels, films compared with, 301–303 see also songs nymphs, 227, 231, 566 , 89 Musset, Alfred de, 240, 351 oddball characters, 56 Mussolini, Benito, 399, 402, 496 Odets, Clifford, 506, 523–524 see Vivre sa vie Office of War Information (OWI), 507 Oms, Marcel, 401 Nadar, Félix, 180 On purge bébé, 224–226 Nana, 53, 109–111, 372 as commercial, 404 filmographic details, 573 critical reception, 225 financial failure, 219, 220, 272, 404 filmographic details, 575 game and play in, 109–111 multiple-camera shooting, 49 Renoir on, 403–404 sound, 48–49, 75, 122 Napoléon (Guitry), 95 success, 53–54, 307–308 Napoleon, 482 voice and speech, 57

0001975657.INDD 607 3/20/2013 7:22:24 PM 608 Index

On the Waterfront (Kazan), 81 tone, 66 opening shots, 16–20 visual fantasy, 231 L’Opéra de quat’sous (Pabst), 209 A Passage to India (Lean), 382 O’Shaughnessy, Martin Passeur, Steve, 477 on Popular Front films, 403 Passion (Godard), 372 La Règle du jeu round table, 144–165 pastiche, as homage, 365 Ossessione (Visconti), 309, 445 Patachou, 257 patriotism, 480–481, 486, 520 pacifism, 121, 125 Pearl Harbor, 502, 506 Pagnol, Marcel Pépé le Moko (Duvivier), 204, 477, 556, 565 dialogue, 62 Perez, Gilberto, 427–428, 429, 441 Ferdinand compared with, 232 performing arts, display of, 78 Monsieur Brotonneau adaptation, 352 Perkins, V. F., La Règle du jeu round Renoir and, 70, 330, 389, 405 table, 144–165 and Toni, 445–446 Perry, George Sessions, 534, 536 painting, allegorical, 275 Pétain, Marshall, 497, 501–502 Paisà / (Rossellini), 48 Phantom India (Malle), 382 panchromatic film stock, 185 phenomenological film theory, 315 Pandora and the Flying Dutchman, 550 Philipe, Gérard, 343 panning movements, 42 Philippe, Pierre, 456 Paris photography, 180–197 cultural significance, 190–191 cinema and, 182 Renoir and, 190–191 face and body, 181–184 Paris Does Strange Things see Éléna et les innovation, 185–186 hommes street, 190–196 Parisian accent, connections, 65 technique, 185 Paris riots (1934), 280 Piaf, Edith, 206, 257, 258–259 parler juste, 54 Picasso, Pablo, 332, 342–343 Partie de campagne, 65–68 see Le Déjeuner sur acting styles, 66 l’herbe archive footage, 384–385 (Godard), 342, 372 dialogue, 65 Pierry, Marguerite ending, 362 in On purge bébé, 75, 224, 225–226 filmographic details, 578 performance styles, 75 footage, 147 Pinkévitch, Albert, 477, 483–484 French Society exploration, 65 Pinsard, Colonel, 129 Laurel and Hardy reference, 154 Pirandello, Luigi, 147, 242 love scene on island, 297–298 Pissarro, Camille, 489–490 music, 46, 66 play, ethics of, 108–119 opening, 296 Poincaré, Raymond, 271 Renoir as actor in, 68, 72 politics reviews, 429 aestheticizing of, 286 screen tests, 147 art and, 248–250, 410–415 sensuality, 447 from aesthetics to, 403–410 sound, 41, 44, 66 politique des , 1, 7, 223, 229, 367 spontaneity on set, 371 criticism of, 340

0001975657.INDD 608 3/20/2013 7:22:24 PM Index 609

Pomiès, Georges Rebecca (Hitchcock), 74 in Chotard et Cie, 74, 232–233, 234 registration, photographic, 185, 187, 188, in Tire au flanc, 79, 220, 221–223, 272 189, 193 popular education movement, 316 remakes, Hollywood, 555 Popular Front, 8, 12n.2, 199, 210 as adaptations, 558 cultural doctrine, 330 critical reception, 557 demise, 417, 495 defining, 556 formation, 426 of Renoir films, 555–570 in government, 280, 282, 284, 285, 411 Rendez-vouz de juillet (Becker), 464 Renoir association with, 332–333, Renoir, Alain, 499, 500, 502–503, 506, 399–400 508–509, 526 Port of Shadows see Le Quai des brumes on Jean, 515, 521, 524–525 Poulle, François, 383, 401 Renoir, Claude (brother of Jean), 525, 526 Pour vous (film journal), 185 Renoir, Claude (nephew of Jean), 91, 100, pre-Columbian art, 462–464 180, 509, 528 Premier Plan series, 383 Renoir, Jean Prévert, Jacques, and Le Crime de Monsieur in academia, 376–382 Lange, 65, 208–330, 381, 406, 408, 410 as actor, 68–70, 72–73, 113, 147, 286–287, Pride of the Marines (Daves), 551 347, 448, 450 Prim, Suzy, in Les Bas-fonds, 67 adaptation, 303–309 primitivism, 112 see also theatrical adaptations prostitution, in French cinema, 251 alternative cinema blueprint, 369 psychology, 569 anarchism, 249 as anthropologist, 75–77 “Quand l’amour meurt” (song), 213 Aragon and, 331, 333–334, 372, 399 articles, 399, 412 rabbits, 464–467 as auteur, 341 radio, 467, 468 autobiography, 270, 529 Radio-Cité, 467–468 biographies, 2, 384 Raymond, Jean, 257 career overview, 36–38 Ray, Nicholas, 82 as cavalry officer, 223 Ray, Satyajit, 382 Chaplin and, 154, 371–372, 411, 414, 518 Reader, Keith, 402 characterizations, 427 realism, 88 and cinematography, 180, 186–190 balanced with spectacle, 418 “classical” style, 264, 388 and communist film criticism, 336 and color versus black-and-white, 187 interior, 88 debt, 404 location shooting and, 59 direction of actors, 73–85, 226, 231 perceptions of European style, 565 divorce from Catherine, 502, 509, 529 socially conscious, 406 as documentary filmmaker, 80 reality experimental phase, 59–65 external, 108 FBI surveillance, 420, 521 inner/subjective, 108 as filmic chronicle, 470 seamless robe of, 296, 301 film industry reform proposals, Rebatet, Lucien, 410, 411, 414, 416, 420, 452 411–412, 417 on La Règle du jeu, 485 filmmaking milieu entry, 219

0001975657.INDD 609 3/20/2013 7:22:24 PM 610 Index

Renoir, Jean (cont’d) and photography, 180–197 filmography, 572–584 Pirandello and, 147, 242 first experience of art, 309 as planner, 147 first sound films, 225 political sympathies, 399–400, 410–411, and French Communist Party, 420 328–343, 499 politics in postwar films, 252 and Gaullism, 501–502, 503, 508 in Portugal, 499–500 genius, 12, 73, 160, 293, 402, 415 as producer, 136, 405 in Hollywood, 500–511, 514–529 as puppet-master, 80 decision to stay, 508–510 reinvention of self, 11 friendships, 521–525 as romantic, 250 historiography of Hollywood work, self-perception, 272 515–518 self-revelation, 181–184 homesickness, 500–501 as song-writer, 200, 259 postwar period, 526–529 Soviet Union visit, 399, 410 projects in first years, 518–521 theatrical direction, 359 rediscovering politics, 502–508 theatrical staging penchant, 295 supporting the war effort, 525–526 Truffaut and, 358–364, 516 “humanism,” 379–380, 391, 427, utopian agenda, 400 516 Vigo and, 70 and India, 189 voice, 68 internationalism, 10 war years, 494–511 interviews, 391, 399 writing on, 2 in Italy, 495, 496 writings, 47, 377, 391 Laurel and Hardy and, 154 Renoir, Marguerite Houllé, and Partie de letters campagne, 66 to family, 506, 510, 528 Renoir method, in La Bête humaine, 135 to others, 363, 496–499, 501–503, Renoir, My Father (memoir), 377, 391 508–510, 519, 522, 526, 527, 529 Renoir, Pierre marriages La Belote, 456 to , 72 letters from Jean, 501, 526 to Dido Freire, 335, 495, 523 in Madame Bovary, 62–63 military life view, 223, 272–273 in La Marseillaise, 426–427, 430–431, Minnelli compared with, 380 435, 441 as modernity forerunner, 80–81 in La Nuit du carrefour, 59 move to United States, 497–500 Renoir, Pierre-Auguste nationalism, 331–332, 417 and anti-Semitism, 475, 489–491 as a naturalist filmmaker, 75–77, 386 biography by Jean Renoir, 270, 489, 495 newspaper articles, 331, 495 and cooperative at studio, 281 novels, 302 cork theory, 77, 320 obituaries, 340–342 Marie-Antoinette portraits, 284 “open” style, 568 oil paintings, 100 Pagnol and, 70, 330, 389, 405 and photographic culture, 180 and Paris, 190–191 self-portrait, 277 philosophy of acceptance, 322 theory of life, 277 photographed, 180, 181–184 work compared with Jean Renoir’s, 5, 549

0001975657.INDD 610 3/20/2013 7:22:24 PM Index 611

rhetoric, 432–434 as director, 368 Richard-Willm, Pierre, 234 on Renoir, 367–368, 533 Richebé, Roger, 38–39, 53, 58, 307–308, Rolleiflex camera, 184 404 Roma città aperta (Rossellini), 378 Rigaud, André, 221 Rome Open City see Roma città aperta River, The, 166–174, 318–326 Roosevelt, Franklin D., 501 adaptation, 305–306 Rossellini, Roberto, 315 casting, 75, 170, 174n.3 contemplative filmmaking, 315 central place of river, 323 critical regard, 381–382 critical reception, 166, 336, 382, 390 long-shot–long-take approach, dance, 322 296 denouement, 173 realism, 84 digestivism, 324, 325, 326 as Truffaut mentor, 358, 362 double perspective, 170–173 Rothschild family, 475–476, 479, 487, editing, 170–172 491n.4 ethnographic documentary, 166, 168 royal visit, to France, 457 Eurocentrism, 323, 324 Rozier, Jacques, 364 filmographic details, 582 rules, and games, 248–250 moral aspects, 317 Rules of the Game, The see La Règle movements, 78 du jeu music, 45 Running After Luck (Koch and mythology in, 323 Reininger), 72 narrative, 167–168, 171–172, 319–323 rural exodus, 448 opening, 319 Russian Revolution, 329 orientalism, 168–169 Ryan, Robert, 545–547 political reading, 321–322 realism, 324 Sadoul, Georges Renoir’s style, 169–170 on Les Bas-fonds, 414 restoration, 390 on Le Caporal épinglé, 340 sign of painting, 319–320 as cinephile, 342 source novel, 305, 319, 534 on Éléna et les hommes, 337–338 thought processes, 318–319 on French Cancan, 337 “trapdoor” effects, 174 on La Marseillaise, 416 rivers, recurrence in Renoir’s films, 391 and La Règle du jeu, 152, 341, 349, Rivette, Jacques 351–353 and La Bête humaine, 136, 140 on Renoir’s American films, 335, as director, 370 336–337 direct sound use, 49 on Renoir’s work, 455 and French Cancan, 368 Sad Sack, The see Tire au flanc on Renoir, 368–370, 391 Saint-Exupéry, Antoine de, 494, 501, 503, on , 544 511, 524 Rivière, Georges, 182 Salute to France, 420, 507–508, 580–581 RKO, 525, 544–545 French version, 334, 507–508 Robinson Crusoe (novel), 550 Samuels, Marcel, 474–475 Rohmer, Eric Sarris, Andrew, 379, 391 on cinema and prose narrative, 302–303 Sartre, Jean-Paul, 302–303

0001975657.INDD 611 3/20/2013 7:22:24 PM 612 Index

Saulnier, Jacques, 100–101 Shivas, Mark, 376–377 Scarlet and the Black, (Autant-Lara), 96 see Tirez sur le pianiste Scarlet Street (Lang), 547, 555, 556–569 shot–reverse shot, 17, 128 as auteurist work, 569 shot types bathroom sequence, 564 action, 39–40 censorship, 561–565 dialogue, 39–40 ending, 561–563 percentages, 40 music, 563 singing, 39–40 narrative, 566–567 Sight and Sound polls, 375–376 reviews, 557, 558 silence, use of, 61, 123–124, 130 sound, 567–568 silent films, by Renoir, 53 source novel, 558 Simenon, Georges, 58, 60, 186, 386, 404 scenes, as autonomous units, 42–43 Simon, Michel Scenes from the Class Struggle in Beverly Hills in Boudu sauvé des eaux, 77, 81, 226, (Bartel), 555–556 228–231, 277, 307, 381 Scheherezade, 320–321 in La Chienne, 274, 307, 444 Schwartz, Vanessa, 261 in On purge bébé, 308 Scorsese, Martin, 390 performance styles, 70, 75 Scott, Zachary, 524 as producer, 60, 226, 229–230 in The Southerner, 77 on Renoir’s direction, 83 Screen Directors’ Guild, 524 in Tire au flanc, 220, 221 Secret Beyond the Door (Lang), 550 vocal tone, 57–58 Secret Beyond the Door (novel), 552 Simon, Simone, in La Bête humaine, 183, self-censorship, 137–138 418 self-reflexivity, 249 Siritzky, Léon, 526 Sellier, Geneviève, 387, 408 social, the, 455, 471n.2 on New Wave, 372 social classes, 56, 58 semiotic theory, 315 Sokoloff, Vladimir, in Les Bas-fonds, 67, sensibility, 250 75, 413 sequence shots, 77 solidity, loss of, 31–32 Serceau, Daniel, 383, 402, 407, 450–451, songs 516 in French films of 1930s, 199–200 “Serenata” (song), 201 murder association, 47, 54 Sesonke, Alexander Renoir’s use of, 46–47, 199–216 on La Bête humaine, 139 written by directors, 200 monograph on Renoir, 384 soul, probing, 316–318 on Renoir’s politics, 401 sound, 4, 35–50, 121–124 studies of Renoir, 516–517 ambient, 36, 48–49, 201, 309 on , 516 direct see direct sound on This Land is Mine, 504–505 fake, 54 sexual relations, 387 as function of studio conditions, 38–41 see also gender relations as key, 307, 567 Shadows (Cassevetes), 81 off-screen, 38, 42–43, 44–45, 47, 204 Shakespeare Wallah (Merchant and Renoir’s awareness as innovator, 47–50 Ivory), 382 and silence, 123–124 shifting frames, 24–28 as substance, 55

0001975657.INDD 612 3/20/2013 7:22:24 PM Index 613

see also music Studio Harcourt, 185 Soustelle, Jacques, 463–464 studios Southerner, The, 293, 533–542 Billancourt, 38–41 censorship, 522–523 Boulogne, 100 filmographic details, 581 Boulogne-Billancourt, 254 final sequence, 541–542 Cinecittà, 38, 91, 381 food and clothing, 536–538 Francoeur, 96 illness and recovery, 540 Joinville, 96 location shooting, 43 Tobis Films Sonores (TFS), 39–40 narrative, 534–541 Summer Manoeuvres see Les Grandes naturalism, 77 manoeuvres opening, 534–535 Sunrise (Murnau), 450 prologue, 535–536 Sur les bords de la Riviera (song), 279 reviews, 335, 528 surrealism, 302, 381, 406, 550–551 sacred aspects, 318 Sur un air de Charleston, 72, 78, 111–113 source novel, 533, 534, 535, 536–537 filmographic details, 573–574 success, 528 game and play in, 111–113 touch in, 534, 538–541, 542 Swamp Water Soviet Communist Party, 338 critical reception, 335 Soviet montage cinema, 315 filmographic details, 580 Spaak, Charles, 482, 509 location shooting, 43 Sparkuhl, Théodore, 180 narrative, 520 spectacle, 88, 237–254 naturalism, 76–77 artifice, 247 opening, 502 politics of, 246–247 studies of, 516 society of, 251 success, 521 truth and, 245–246 Sylvane, André, 116, 220 speech, 56–58 see also voice Tabouis, Geneviève, 506 spontaneity, 82 Technicolor, 90–91, 98, 100, 166, 187, Sri Ram, Radha, 170 305–306, 336 Stanislavski, Constantin, 80 Tedesco, Jean, 113, 185–186, 404 Stavisky affair, 485–486 teenage melodrama, 168–169 Stella Dallas (Vidor), 81 television, 371–372 stereotypes, world of, 308 temporal detachment, 188 stereotyping, 56 Terre des hommes (novel), 494 see Baisers volés Terre des hommes project see Wind, Sand and storyboarding, 96 Stars project Strange Woman, The (Ulmer), 551 Tessier, Valentine, in Madame Bovary, street photography, 190–196 62–63, 73, 405 Strehler, Georgio, 351 Tesson, Charles, 384–385 Stroheim, Erich von see von Stroheim, theater Erich against life, 244–247 Stromboli (Rossellini), 296 as life, 94 structuralist theory, 314 life against, 244–247 StudioCanal, 134, 140–141 Théâtre Déjazet, 116

0001975657.INDD 613 3/20/2013 7:22:24 PM 614 Index

Théâtre des Mathurins, 226 Toni, 63–65, 444–452 Théâtre des Nouveautés, 224 accents, 63–65, 76 Théâtre du Vieux-Colombier, 113, 185 aesthetic of circumstances, 309 Théâtre National de l’Odéon, 232 artist portrayal in, 279–280 theatrical adaptations, by Renoir, 219–235 black character, 160 theatricality, 88, 147–148, 237–252 cinematograohy, 190 privileging of, 59, 61 direct sound, 64, 405 They Were Five see La Belle équipe ending, 65, 362 thinking, film and, 313–314 festivities, 448 This Land is Mine, 334–335, 338, 420, filmographic details, 577 503–507, 523, 525–526 financing, 63 camerawork, 504–505 footstep sounds, 44 critical opinion division, 544 Italian films compared with, 48 filmographic details, 580 location shooting, 60, 64, 190, 371, language, 503 405, 445 political reading, 506 long takes, 42, 50 reception, 506, 509–510, 523, 525–526 male desire, 446–447 typecasting, 547–548 masculinity, 450–451, 452 Thompson, David, 391 as Mediterranean film, 389, 445–452 Thomson, David, 391 as melodrama, 444 Thorez, Maurice, 328, 331 moral aspects, 317 Threepenny Opera, The (musical) see L’Opéra music, 279 de quat’ sous narrative, 446–451 Three Women (Altman), 551 as neorealism forerunner, 381, 406, time 445–446 engagement with, 11 politics in, 330 as space, 191 as precursor of Popular Front years, Tire au flanc, 116–118, 220–224, 271–274 452 amateur theatricals, 286 production, 384 artist portrayal in, 271–274, 277, 288 prologue, 446 camera-work, 273 rabbits, 465 critical reception, 222–223 La Règle du jeu compared with, dance, 79 444–445 as farce, 272 remake by Godard, 372 filmographic details, 574 Renoir on, 405–406 financing, 273–274 reviews, 386 game and play in, 116–118 rivalry, 446–447 as good experience, 404 songs, 200, 446, 451 narrative, 221–222, 223–224 touch in, 534 success, 224 visual organization, 450 visual fantasy, 231 voice and speech, 56 visual gags, 221 Toselli, Enrico, 201 Tirez sur le pianiste (Truffaut), 361–362, Totes Meer (painting), 551 363 touch, in Renoir films, 533–534, Tixier-Vignancour, Jean-Louis, 498, 499 538–541, 542 Tobis Films Sonores (TFS) studio, 39–40 Touchez pas au grisbi (Becker), 207

0001975657.INDD 614 3/20/2013 7:22:24 PM Index 615

Tourcoing, 459–460 Vigo, Jean, 362 (Godard), 342 Renoir and, 70 transitional space, 108, 118, 119 Villegas, Micaela, 241, 253n.8 cinema as, 108 Viollis, Andrée, 509 Trauner, Alexandre, 100 Visconti, Luchino, 341, 342, 380–381, 445 Les Tricheurs (play), 477 visual gags, 221 trilogies, 237, 239 vitamins, 468–470 Truffaut, François, 139 Viva Maria! (Malle), 265 Bazin and, 358–359, 361, 379 Vivre sa vie (Godard), 252, 372 as director, 360 Vogel, Lucien, 184 and Éléna et les hommes, 359 voice film endings, 362 characteristics, 56–58 and French Cancan, 359 mannerisms, 54 and La Bête humaine, 136, 139 von Sternberg, Joseph, 82 on La Marseillaise, 428 von Stroheim, Erich, 122, 307, 505, and La Règle du jeu, 145–146, 358, 521–522 360–361, 362 in La Grande Illusion, 43, 122, 129, 412, mentors, 358 483–484 Renoir and, 358–364, 516 voyeurism, 172 and Sur un air de Charleston, 358 Vu (weekly), 184 and Tire au flanc, 358 on Toni, 359–360, 448 Wagner, Richard, 490 visual style, 361–362 Wanger, Walter, 558, 564–565 truth, and spectacle, 245–246 war trauma, surrealism and, 550–551 Twentieth-Century Fox, 519 water, ambiguity in Renoir films, 549 Weill, Kurt, 208–209 monogatari (Mizoguchi), 449 Weimar cinema, 570 Un chapeau de paille d’Italie (Clair), 220 Welles, Orson, 145, 239, 293, 379, unemployment, 279 387–388 Une Vie sans foie see Catherine Welsch, Tricia, 567–568 urban space, handling of, 190–196 Whirlpool of Fate see La Fille de l’eau utopianism, 409 white telephone films, 150 wide-angle lens, 186 valse chaloupée, 202, 216 Wiener, Jean, 207 Vanishing Corporal, The see Le Caporal Williams, Ben Ames, 551 épinglé Wilson, Mitchell, 546, 547, 548, 552 Van Parys, Georges, 259 windows Varney, Jean, 206 importance, 30 Vaucaire, Cora, 259 opening of, 297–298 Venezuela project, 520 Wind, Sand and Stars project, 519, 520, Verdun, battle of, 123 521 verification, 187 Winfried, Winna, in La Nuit du carrefour, Vertigo (Hitchcock), 375 59, 75 Veyran, Marcel, 213 Winnicott, Donald, 108, 111, 113, 114, Viaggio in Italia (Rossellini), 296 118–119 Vichy regime, 497–503 Wollen, Peter, 377–378, 388

0001975657.INDD 615 3/20/2013 7:22:24 PM 616 Index

Woman Racket (Siodmak), 73 women Woman on The Beach, The, 335, 362, in France in 1930s, 464 544–552 portrayal in Renoir films, 266–267 casting, 547 representation in French Cancan, censorship, 517 257–259, 263, 266 critical opinion division, 544 Wood, Robin, 377 failure, 550 writing, cinematic, 302–303 filmographic details, 581 Wyler, William, 379 frontiers/borders theme, 546–547, 550 Yolanda and the Thief (Minnelli), 550 genre, 545, 551–552 Young Mr. Lincoln (Ford), 433 locations, 545–546, 548 youth, postwar, 464 narrative, 517, 545–546 nightmare/dream sequences, 548–551, Zanuck, Darryl F., 519, 520 553n.9 Zhdanovism, 338 production title, 551 Zidler, Charles, 256 reception, 545 Ziegfeld Follies (Minnelli et al.), 550 Renoir on, 550 Žižek, Slavoj, 313, 314 script changes, 517, 553n.9 Zola, Émile source material, 546 La Bête humaine, 132, 210, 214–215, 386, writing, 524 417, 419, 558 Woman in the Window, The (Lang), 547, 549, Nana, 109 551–552, 569 naturalism, 403

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