Rating: 
Summary: The only french mov i love
Review: MY RATING- 7.2I watched this mov, knowing it was called a masterpiece, but guessing that it would be boring like all french films. How wrong I was! I actually liked the style, it almost looked like some american comedies from the 30's!
Well, the major importance of the mov is social critique and the behaviour in the best families of that time and Jean Renoir manages to it well. You see for instance the character of Marcel Dalio fighting with a guy then offering him a cigarette few moments later. Attention to the symbols of the hunt for the rabbits like it would be the party.
The mov simply doesn't hit me as some brit and american masterpieces. By the way, I found the actress who played Lisette very pretty too.
Rating: 
Summary: A Renoir Masterpiece
Review: No history of cinema would be complete without "The Rules of the Game" (1939). Director Jean Renoir's brilliant, perceptive study of a dying French aristocracy remains among the finest examples of visual poetry captured on film -- as evidenced in the savage "rabbit hunt" and the haunting final shot. Along with "Grand Illusion" (1937), "The Rules of the Game" represents the high-water mark of Renoir's career. It's as close to perfection as a film can get.
Rating:
Summary: A Renoir Masterpiece
Review: No history of cinema would be complete without "The Rules of the Game" (1939). Director Jean Renoir's brilliant, perceptive study of a dying French aristocracy remains among the finest examples of visual poetry captured on film -- as evidenced in the savage "rabbit hunt" and the haunting final shot. Along with "Grand Illusion" (1937), "The Rules of the Game" represents the high-water mark of Renoir's career. It's as close to perfection as a film can get.
Rating:
Summary: The DVD of the Year.
Review: On its surface, "The Rules of the Game" is a light farce involving the couplings - and decouplings - of an assortment of weekend guests staying at the chateau of the Comte de la Cheyniest (Marcel Dalio). Without knowing any other context, the film can be enjoyed on this level: Renoir's writing (he co-scripted) is witty and his direction is elegant and sublime. His fluid long-shots make you feel like you're gliding along in this rarified - though topsy-turvy - world; and his open approach to the actors is suffused with generosity. He never allows us to focus on one particular person, or couple, because, in this social world, "everyone has their reasons" and everyone's actions bounce and intertwine with everyone else's. As a homage and updating of a classic French farce, "Rules" is flawless; it is, however, as a commentary on the decline of a social order that makes this more than a cinematic souffle. Shot in 1939, "between Munich and the War" as Renoir says, the film is portrait of the European aristocracy where ethical codes (conjugal fidelity above all) are not only violated, but are even dismissed as irrelevant. Human relationships collapse and reform with sudden ease (witness the gameskeeper and the poacher) and those who cling to outmoded notions of love and faithfulness set themselves up for disaster (such as the aviator). This is the domestic complement to Renoir's war drama, "La Grande Illusion", where the mournful French and German artistocratic officers, having more in common amongst themselves than with the common soldiers of their respective nationalities, lament that mechanized warfare has rendered their class irrelevant. Both "Illusion" and "Rules" may seem irrelevant themselves in the US, which did not have a traditional feudal aristocracy. Yet both films fascinate by showing individuals attempting to survive, and thrive, in worlds where the old, comfortable standards no longer apply. If the aristocrats in "Rules" openly, and rather disinterestedly, conduct affairs with each others' spouses, why shouldn't a humble poacher poach a gameskeeper's wife too? If "everyone has their reasons", the famous quote from the film, then, who's to decide which "reasons" are justified or unjust, legitimate or scandalous? The Criterion double-disc sets its own standards. The extras are plentiful and fascinating, including interviews from the few remaining cast and crew members, the essay booklet intelligent and penetrating, and the transfer quality of the film is superb considering the film's history (having been cut at its premiere, banned, its original negative destroyed in WWII, and finally reassembled in the late 1950's). This disc was clearly a labor of love and the effort shows throughout: this disc is worth Criterion's asking price.
Rating:
Summary: The DVD of the Year.
Review: On its surface, "The Rules of the Game" is a light farce involving the couplings - and decouplings - of an assortment of weekend guests staying at the chateau of the Comte de la Cheyniest (Marcel Dalio). Without knowing any other context, the film can be enjoyed on this level: Renoir's writing (he co-scripted) is witty and his direction is elegant and sublime. His fluid long-shots make you feel like you're gliding along in this rarified - though topsy-turvy - world; and his open approach to the actors is suffused with generosity. He never allows us to focus on one particular person, or couple, because, in this social world, "everyone has their reasons" and everyone's actions bounce and intertwine with everyone else's. As a homage and updating of a classic French farce, "Rules" is flawless; it is, however, as a commentary on the decline of a social order that makes this more than a cinematic souffle. Shot in 1939, "between Munich and the War" as Renoir says, the film is portrait of the European aristocracy where ethical codes (conjugal fidelity above all) are not only violated, but are even dismissed as irrelevant. Human relationships collapse and reform with sudden ease (witness the gameskeeper and the poacher) and those who cling to outmoded notions of love and faithfulness set themselves up for disaster (such as the aviator). This is the domestic complement to Renoir's war drama, "La Grande Illusion", where the mournful French and German artistocratic officers, having more in common amongst themselves than with the common soldiers of their respective nationalities, lament that mechanized warfare has rendered their class irrelevant. Both "Illusion" and "Rules" may seem irrelevant themselves in the US, which did not have a traditional feudal aristocracy. Yet both films fascinate by showing individuals attempting to survive, and thrive, in worlds where the old, comfortable standards no longer apply. If the aristocrats in "Rules" openly, and rather disinterestedly, conduct affairs with each others' spouses, why shouldn't a humble poacher poach a gameskeeper's wife too? If "everyone has their reasons", the famous quote from the film, then, who's to decide which "reasons" are justified or unjust, legitimate or scandalous? The Criterion double-disc sets its own standards. The extras are plentiful and fascinating, including interviews from the few remaining cast and crew members, the essay booklet intelligent and penetrating, and the transfer quality of the film is superb considering the film's history (having been cut at its premiere, banned, its original negative destroyed in WWII, and finally reassembled in the late 1950's). This disc was clearly a labor of love and the effort shows throughout: this disc is worth Criterion's asking price.
Rating:
Summary: Review of the Criterion 2-disc DVD edition
Review: On the surface, THE RULES OF THE GAME is a frivolous satire of the French ruling class during the interwar years. But beneath it, this 1939 film is a rather sweeping appraisal on human nature and how the rigidity of our society continues to undermine our humanity. With a microcosmic cast of characters that comprises of masters and servants, the film weaves an intricate plot about their love, jealousies, deceit, infidelities, hypocrisies, misunderstandings, and, at times, reconciliations, and realignments of friends and foes. Through their travails, the film depicts a symbolic breakdown, and ultimately restoration, of the prevailing social order, resulting in the film being both a comedy and a tragedy. Director Jean Renoir also acts in the film, playing the pivotal role of an outsider (obviously a stand-in for the audience). His character's futile attempts to break into the "circle" and to bring about the well-beings of his friends suggest that it is often difficult to survive under the social order, let alone change it. The Criterion DVD is an all-region two-disc set with a newly restored video transfer and plenty of rewarding extra material. This eagerly-awaited disc was originally to be released last Fall, when Criterion had already finished a video transfer that would have looked better than any existing copy of the film. But at the last minute, Criterion received word that an earlier-generation fine-grain master of the film had been located in France, and that additional improvement, though not dramatic, could be made to the picture quality. Being the perfectionist that it often is, Criterion decided to redo the video transfer based on the fine-grain master, thus delaying the DVD's release by several months. According to the New York Times article "Hunting 'The Rules of the Game'" on Jan-18-04, the redone transfer justified the additional time and cost by yielding more details in dark areas and richer shades of grey on the picture, resulting in a less harsh look and perhaps subliminally making the characters in the film seem more sympathetic. The DVD's video quality is indeed the best I've ever seen. Its sharpness and clarity of details are a revelation to those who have seen, for instance, Criterion's laserdisc version years ago. A digital cleanup process has been used to eliminate much (but not all) of the dirt and blemishes. The original French audio track has also been improved, and it now sounds cleaner, with almost no hiss and pops, and more detailed. In a film that relies on its numerous visual and audio details to be effective, the technical improvements made for this DVD are absolutely worthwhile and welcomed. Accompanying the film is a superb analytical audio commentary written by film historian and Renoir's friend Alexander Sesonske, and read fluidly by Peter Bogdanovich. Recorded in 1989 for the Criterion laserdisc, this commentary analyzes the intricate relationships of the characters, how their actions often counterpoint one another's, and what Renoir intends to accomplish with them. It points out that the story creates two groups of quintets, each comprising of a husband, wife, lover, mistress, and interceding friend, and that the actions in one group are often the opposites of the other. The commentary also mentions the political climate in which Renoir made the film, as well as the classical works (such as The Marriage of Figaro) that inspired Renoir. A 30-minute excerpt of the 1967 TV documentary "Jean Renoir, le patron", originally included in the laserdisc version, is also included in this DVD. It is essentially an interview of Renoir, who talks about his shooting style, and the themes and characters of the film. There is also a rather poignant moment of Renoir reuniting with actor Marcel Dalio at the steps of the "La Colinière," where they reminisce about their experience. The DVD includes a great one-hour documentary on Renoir and RULES OF THE GAME, made by BBC in 1993. It recalls Renoir's childhood, upbringing, how his love of the movies developed, and his film career up to and including RULES OF THE GAME. It shows fascinating clips of his early films such as LA FILLE DE L'EAU, CHARLESTON, NANA, LA CHIENNE, BONDU SAVED FROM DROWNING, and others. It also includes comments from his family members, friends, collaborators, and other filmmakers such as Bertrand Tavernier, Bernardo Bertolucci, and Peter Bogdanovich. Perhaps the best supplement in the whole DVD set is a "Version Comparison" that provides side-by-side comparison of the final scenes in two versions of the film: the shorter 81-minute cut which Renoir reluctantly made in response to criticisms, and the longer 106-minute version that was reconstructed in 1959 (the version used for this DVD's presentation). Film historian Christopher Faulkner's commentary provides further elucidation on the differences between the two. Thus, we can plainly see for ourselves that the shorter version drastically eliminates many of the subtleties and alters the meaning of the film's final moments completely. Also valuable is a 10-minute interview footage of the two people who reconstructed the 1959 version, Jean Gaborit and Jacques Durand. They recall their multi-year efforts in finding film elements from all over the world, and eventually discovering several minutes of footage that was not in Renoir's original version (one of such footage is the long conversation between Octave and André at the knoll in the countryside). Other extras include an 8-minute "video essay" (a featurette) on the film's production history, 3 interview segments, and several written tributes by today's filmmakers, which include a few pretty thoughtful mini-essays on the film as well as succinct comments such as that from Robert Altman: "THE RULES OF THE GAME taught me the rules of the game."
Rating:
Summary: A favorite
Review: One of my favorite films. Intelligent? Yes. Effective social criticism? Yes. But most notably (and perhaps least appreciated), it is a film with a big heart. Renoir shows a fascination with and a fondness for the complexities and weaknesses and absurdities of human kind. Here he touches on the universal, making the film far more rewarding than what I expected from a 65 year old piece of "social criticism."
Rating: 
Summary: Genuinely boring
Review: One of the greatest films ever made? Just try to stay awake. Hilarious? Try to find a single laugh? Deep, moving? Are you kidding? Film critics need to get an honest job. Good grief, what a dog.
Rating:
Summary: A vivid portrait of the bourgeois of that age and still !
Review: Renoir the unique , the admirable thinker , the great artist, the supreme master, the exquisite director could make an overwhelming tour de force based on the purest tradition of the French comedy . Alfred de Musset ` Les caprices de Marianne (1833) and, Marivaux's The game of love and chance (1730) and Beaumarchais ` s Le marriage de Figaro (1784) were the sources of his inspiration to represent the dramatic situation.
"A precise description of the bourgeois of our age. I want to show that for every game , there are rules . If you don't play according to them , you lose" "My ambition was to illustrate this remark: we are dancing on a volcano" . These words come from Renoir in an interview dated 1938.
Renoir worked in this movie from February to May 1939 . And in his famous autobiography (Ma vie et mes films -1974- (see my review) reported that during the shooting of this greatly improvised film he 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 .
The script is an excellent and if I may operatic work . A heroic aviator who lands at Le Bourget after a record transatlantic flight, is acclaimed but he is sad because he expected Christine was there and she did not greet him .
As you well know : hero is the person who makes the things for eros (love) and nothing else . The applauses and world recognition are less than nothing to him ..
He will be invited to the castle of the Marquis , Robert de la Chesnaye , Christine `s aristocratic husband ; nothing more and nothing less . Since he decided to accept these rules of the game our beloved hero will be victim of intercrossed events of the destiny; in a complex web of jealous , hypocrisy , double moral and lack of the real meaning of this celebration in his honor .
The golden mind and the master hands of this French film maker , son of the famous painter Pierre Renoir made possible to give us a jewel of thousand carats .
After a hostile reception and subsequent obstacles , The rules would eventually triumph for the posterity . Allied bombings destroyed the laboratories where the film's master negative had been stored . And after an never ending odyssey and love for the cinema , three cinephiles , Jean Caborit, Jacques Maréchal and Jacques Durand restored the film after discovering thwo hundred boxes of film material recovered from the bombing . The reconstructed film (112 min) was screened at last in 1959 at the Venice Film Festival and reopened in Paris on April 23, 1965.
In 1975 Renoir received an honorary Academy award and was described as " agenius who, with grace , responsibility and enviable devotion through silent film , sound film ,feature , documentary , and television , has won the world's admiration".
If I had to take just only ten films to a desert island to prove the greatness of our civilization for the future generations , this would be one of my choices .
I must admit I love this film so much that I watch it twice every year since I got it in 1988 .
Do you really need another additional proof to acquire this artistic winner and timeless film and make it part of your personal collection?
Rating: 
Summary: It's the French, what can I say?
Review: Renoir's masterpiece is considered France's Citizen Kane. Well Kane kicks butt compared to this French work. Sure Renoir had great camera moves but so does P.T. Anderson and no one is calling him any kind of genius. This is a very well made film for its time but doesn't age as well as Kane, a superior film in every way. Renoir's character in the film is a bit annoying also in that his views expressed in the dialog seem somewhat out of place in the context of the rest of the film. Renoir is considered the grandfather of French cinema; but the best French cinema was done by a Cuban/Spaniard--Luis Bunuel! Don't get me started on how overrated Truffaut and Godard are.
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