The Rules of the Game
Film - Feature | January 14 | 4 p.m. | Berkeley Art Museum and Pacific Film Archive
In Renoirs masterpiece of ruthless grace, made between the Munich accords and the outbreak of war, history plays as both tragedy and farce. This self-declared dramatic fantasy à la Beaumarchais and de Musset etches, in the directors words, a rich, complex society . . . dancing on a volcano. It uses the construct of a country-house gathering, with its shooting party and masquerade, its shifting romantic allegiances and upstairs-downstairs micro-melodramas, to frame a portrait of respectable civilization that is both seductive and monstrous. It is Renoirs special gift to combine entomological precision with genuine compassion for each of his many characters, including the Marquis de la Chesnaye (Marcel Dalio), collector of automatons; his wistful wife Christine (Nora Grégor), who complains telling lies is such a heavy load to bear; and their bearish friend Octave (Renoir), whose remark sums up the films philosophy in all its damning ambiguity: Everyone has their reasons.