‘The Rules of the Game’ Apply to Some and Not Others

André Jurieux (Roland Toutain) is infatuated with Christine de la Chesniest (Nora Gregor), in “The Rules of the Game.” Nouvelle Édition Française

NR | 1h 50m | Satire, Comedy, Drama | 1950

Having recently reviewed director Jean Renoir’s 1937 war drama “The Grand Illusion,” I wasn’t expecting the sharp turn in tone with his follow-up 1939 masterpiece “The Rules of the Game.”

What initially seems like a chaotic farce soon unfolds into a carefully crafted narrative. Beneath the surface of fast-moving humor, the film unravels with intricate detail, revealing deeper layers of human vulnerability. Characters who first appear as simple caricatures gradually expose profound emotional depth, making this satirical portrait of France’s elite both devastating and timeless.

A Hint at Things to Come

The film’s opening scenes set up everything. André Jurieux (Roland Toutain), a dashing young pilot and national hero, has just completed a historic transatlantic flight. As he lands his plane, massive crowds of awaiting French citizens overwhelm the police detail and rush the airfield to greet him. The press also eagerly flocks to him, hoping for his first statements.

Instead of enjoying his grand accomplishment, André’s mood is darkened by the absence of a certain woman. He is infaturated with Christine de la Chesniest (Nora Gregor), who is married to Marquis Robert de la Chesniest (Marcel Dalio). This underscores his sense of entitlement and the broader theme of blindness to realities that pervades the film.

Robert (Marcel Dalio) and Christine de la Chesniest (Nora Gregor), in “The Rules of the Game.” Nouvelle Édition Française

André’s obsession with Christine is so intense that it drives him to a dramatic suicide attempt, crashing his car into a tree. His friend Octave (played by the film’s director, Jean Renoir) reluctantly agrees to help André’s pursuit of Christine, as he is Christine’s childhood friend. Octave’s offhand promise leads him to arrange a weekend hunting party, inviting André, at the marquis’s opulent estate, known as La Colinière.

Other characters soon interconnect with the main players. Christine’s husband, Robert, is carrying on an affair with Geneviève (Mila Parély) that he wants to end. He invites her to the countryside estate party as a farewell. Christine’s personal attendant, Lisette (Paulette Dubost), is married to Edouard Schumacher (Gaston Modot), the La Colinière’s groundskeeper.

Deeper Dynamics at Play

The rest of the film is set at the estate. Here, Renoir skillfully weaves this intricate web of relationships with such finesse that he invites viewers into a nuanced, bittersweet experience of societal rules. This is colored by the film’s underlying sadness and irony, revealing the characters and their interactions as a tragic charade of sorts.

The so-called rules dictating their behavior are exposed as arbitrary and deceptive, masking true immorality. These rules mirror our own contemporary societal dynamics. The film emphasizes the confusion and inner turmoil they generate, ultimately unraveling the essence of human relationships.

The film delves into social class by illustrating how societal rules vary across the strata. For the upper class, norms are flexible and often bent to suit convenience. Characters like Robert and Geneviève enjoy upper-crust status; they engage in illicit affairs with little consequence. To them, infidelities are viewed as minor infractions in the larger game of society.

For the lower classes, societal rules impose strict and inflexible behavioral boundaries. Schumacher is aware that his employer Robert is intent on eliminating rabbits that plague the estate.

Schumacher (Gaston Modot) and his wife Lisette (Paulette Dubost), in “The Rules of the Game.” Nouvelle Édition Française

Schumacher’s adherence to the rules means he cannot allow Marceau (Julien Carette) to poach rabbits, despite knowing that Robert benefits from the poaching. As Marceau is of the same class as Schumacher, he sees Marceau’s violations as a serious offense, reflecting the rigid enforcement of rules within their shared social sphere.

Robert’s perspective is notably different. For him, Marceau’s poaching is not an infraction, but a pragmatic solution to a problem of too many rabbits. Robert’s willingness to overlook the poaching reveals how the rules can be bent or disregarded based on convenience and personal gain within the upper class. This underscores how enforcing social norms is often influenced by status. The privileged class is allowed to sidestep rules that the lower classes are expected to adhere to.

Contemporary Relevance

Today, “The Rules of the Game” may appear as a lighthearted comedy about romantic entanglements among the upper class and their servants. However, Renoir uses this seemingly simple setup to deliver a scathing critique of class, entitlement, and self-absorption, parallels that remain relevant today, especially in the age of social media.

Robert de la Chesniest (Marcel Dalio, L) listens to a proposition by friend Octave (Jean Renoir), in “The Rules of the Game.” Nouvelle Édition Française

In 1939, as Europe teetered on the brink of war, the wealthy elite stayed insulated by their privilege, indifferent to growing social and political unrest. Renoir was acutely aware of this disconnect. He crafted his masterpiece as a veiled, but pointed critique of French society.

The film’s commentary on class and indifference resonates today and, hopefully, can inspire viewers to strive for greater understanding and empathy.

“The Rules of the Game” is available on Vudu, Kanopy, and Prime Video.

‘The Rules of the Game’ Director: Jean Renoir Starring: Marcel Dalio, Nora Gregor, Paulette Dubost Not Rated Running time: 1 hour, 50 minutes Release Date: April 8, 1950 Rated: 4 1/2 stars out of 5

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