During my research and as completely new to Jean Renoir’s work, I was really intrigued to find out that the photographer Henri Cartier-Bresson and the director Luchino Visconti were assistant directors. I was hoping to see this pedigree in the film and find some hints to their genius. I also found out that the film was unfinished because of bad weather and they released it without Renoir in 1946 at only 39 minutes long.
Unbelievably, I have never seen a Jean Renoir film, which is a little shameful, especially as he is considered the fourth best director by the BFI survey. I am looking forward to exploring what his work is like, although I possibly should have started with his full-length films.
I did find it full of comedy French cliches, including a man with a stripy top and a moustache holder, Pastis, an hysterical mother, the amazing beautiful French countryside, Parisians… I was almost waiting for Maurice Chevalier to turn up!
There were a lovely variety of shots used and, although used for a long time, I liked the shot on the swing, which set up the rest of the narrative.
With the 1860 setting and flattened black and white cinematography (by Claude Renoir, his brother?) it feels like an old world rediscovered and almost as if they are recreating the Pierre-Auguste Renoir painting ‘Chestnut Tree In Bloom’ – see below. It is interesting to think of the effect of Renoir’s father may have made on him.
The story was a perfectly contained narrative and would be all you needed in any film and although the kiss seemed hasty and slightly unlikely, I loved the way it was shot. It was almost like she was staring down the lens and the film got more interesting after it. The tracking rain shot was great.
Not sure I understand the genius yet… And mum and dad certainly found it soporific…
Steadicam on a swing
Tracking of rain shot
Recreating an old painting