Renoir's main contribution to the realistic movement of French poetry

In 1930s, French poetic realism, as a concept between poetry and nature, was a poetic and poetic genre of realistic film aesthetics, which gradually disappeared with the coming of the war.

The main contribution of poetic realism;

First, update the concept of "reality"

Jean mitry once made an extremely accurate evaluation of the concept of "truth" in Italian realism. In his film history, he pointed out: "In fact, in this style, filmmakers do not repeat or copy reality. On the surface of the form, Bona only imitates the activities created by life, its emotional process and its internal movement, and creates according to this, retaining only the strangest and most distinctive aspects. The grasp of truth lies only in expressing "the truth of essential meaning".

Second, the establishment and use of depth of field lens

Renoir, who insisted on independent production, used a lot of depth-of-field lenses in his works, forming a set of systematic film grammar. His creative practice provided evidence for Bazin's theory of "scene scheduling" and influenced the creation of modern movie screens to a great extent. The establishment and use of depth-of-field lens has made great contributions to the development of "film ontology".

Third, give full play to the literary power of movies.

The screenplay makes French "poetic realism" films shine brilliantly on the screen, and once again shows the vitality of life and the skill of film literature, which plays an important role in film creation. The famous directors in this period: Claire, Fidel and Bert Gouel all wrote their own films, and Renoir and Dewey all participated in the writing of their own films. The success of carn, who started as a journalist, stems from his own artistic observation, appreciation and directing skills, on the other hand, he mainly benefits from the literary advantage of the surrealist poet Pu Loewit. In the surreal atmosphere of "double cigarette butts" cafe in Latin quarter, Preve cultivated his poetic temperament and talent, formed his creative soul and became the backbone of all his works.

This soul is far from being completely summarized by "pessimistic" Eryu. Pierre Mayo once hit the nail on the head and pointed out: "This kind of black and despair from Mr. Lanci's crime to Night Gate is not enough to reflect his uniqueness or even unity. Plavi's creation began with the confirmation of pessimism. Since fierce fighting has conquered everything and eroded everything, where can people find salvation if they don't return to their roots and childhood? In a deeper sense, the theme of Plevet is one: only by transcending all kinds of hardships and meeting children's eyes can we gain confidence in life. This vision is poetry and the magic of language. But he used the language of life and habit, which is the most popular language. "

In the creation of poetic realism, there are two prominent misunderstandings:

First, it ignores the audio-visual nature of film art, which is manifested in some films, emphasizing dialogue, scriptwriting and the role of literature, but often ignoring that film is first and foremost a visual and auditory art, which is very regrettable. This misunderstanding is very prominent in parnell's films.

Second, the influence of art groups on individuals. Because the screenplays in the poetic realism period are usually created by several great screenwriters, such as Presley, Spike and Jean Song, the works often show some similarities. They are all based on the same drama model, that is, a tragic model that moved to the reality of contemporary civilian society. Loewit and parnell's disciples swarmed, and these mediocre imitators were full of craftsman spirit, which smoothed out the uniqueness and individuality of film art creation. This situation lasted for many years until the emergence of the "new wave" film movement.

Jean renoir is a symbol of French poetic realism. Bazin once called him the real leader of poetic realism, and pointed out in Fifteen Years of French Film: "In the decisive era of pre-war audio films, René Claire was not in France, and jean renoir's works undoubtedly occupied the ranks of' black realism' because of their unique ideas and rich aesthetic value, but they were pioneers of films and predicted the evolution of film styles in form and content in many ways."

The son of Auguste Renoir, a famous impressionist painter, once worked as a screenwriter, director and actor. He went from an amateur interest to a professional filmmaker and devoted himself to the film industry. Renoir's originality was not successful. But he learned from it, cultivated his creative passion and inspiration, and gradually formed a unique "game" film style.

1928, Renoir's "The Story of the Ancient City Race" reflecting the unemployed marginal figures was still a silent film. From the beginning of the film, he directed Abortion (193 1) and Bitch (193 1), which made his unexpected success a turning point in his film career. Among them, the creation of Bitch made Renoir clearly realize that this is the beginning of a new stage, that is, the beginning of realistic creative methods and roads. Bitch shows the story of an honest employee who is over 500 years old and falls in love with a prostitute, and the prostitute also falls in love with him and keeps a relationship with the hooligans in the city, and finally the messenger employee is ruined. This is based on a mediocre novel. However, Renoir surpassed the performance of the novel in a realistic way. The film takes the streets of Paris and the families of the hero and heroine as the main scenes, with dark narrative space and strong atmosphere. This description of the location and environment of the story, as well as the excellent performance of Michel Simon, a Parisian citizen who hangs out among hooligans, makes the film enter the interest and category of poetic realism. 1932, Renoir's masterpiece Budu Rescued from Water (also known as Budu Rescued from Water) came out. This is a work about tramps in Paris, which is somewhat anarchic. The film began to use the depth of field lens many times when expressing the environment. From 65438 to 0934, Tony, directed by Renoir, had a great influence on Italian films, which predicted new realism. He and Einstein co-wrote the film. "From 1934 (Tony), Renoir systematically used the" depth of field lens "that completely changed the grammar of the whole film. However, it was not until 194 1 Citizen Kane was published that American films began to break through the traditional film editing methods. It is in this sense that Roberto Rossini, De. Sika regarded him as a pioneer. Tony also marked the beginning of Renoir's independent production. He opened the way for economic and aesthetic films and realized what the film production system did not allow, but the audience expected.

1935, Renoir portrayed the story of vicious entrepreneurs and small people uniting to form a "cooperative" in The Crime of Mr. Longji (written by Presley), which is a film full of victory and optimism. The warmth, charm, intimacy and rich sense of humor shown in the film make up for some technical deficiencies. 1936, adapted from Maupassant's original outing. The next episode "Bitter and Short Pastoral Love History", also adapted by Pu Loewit, was not filmed, but edited by Renoir students. The film didn't start showing until 1945. Because of the expressional technique of Impressionism, it left a deep impression on people in displaying natural scenery.

Among Renoir's works, the two most important ones are The Great Disillusionment (1938) and The Rules of the Game (1939). The Great Disillusionment is a masterpiece full of pacifist spirit and a microscopic study of European history at the beginning of the century. Although the war has caused "conflicts between countries, people of the same class will understand each other." Meister talked about the "superficial action" of movies in his "A Brief History of Movies". During World War I, two French soldiers finally escaped from the prison camp. Its real action is a metaphor: the demise of the old ruling class of European aristocrats and the growth of the new ruling class of the working bourgeoisie. Prisoners of war are the epitome of European society described by Renoir. There are French, Russian and British prisoners of war, professors, actors, technicians and bankers, nobles, capitalists and laborers. "

The plot structure of The Great Disillusionment is worth studying. The plot of the film attracts the attention of fans with the purpose of expressing the meaning of the theme. On the other hand, Renoir played down or overturned the plot of the film by dramatizing the theme. In an unconventional way, he put us into the specific content of the film dialogue, which played a role in diluting the plot. This practice can be seen in many places in the film. For example, in order to weaken the plot of prison escape, Renoir showed that prisoners of war were more concerned about how to escape from prison, but how to eat enough and yearn for women. But all they can achieve is to dress up as men. Another example: the plan to escape is accidental. The scene itself is not important to the plot, but the evaluation of modern history is extremely important. The tsar's gift to Russian prisoners of war was a batch of books, which aroused the dissatisfaction of prisoners of war. They burned books against the ignorance and arrogance of the nobles, and they were prepared to escape from prison to get rid of the heavy oppression of the nobles. In Renoir's view, sociality and documentary are more important than the plot, and there is another paragraph about the handling of the plot, which is the scene around the rope used to escape from prison:

Germans are coming to the room to search for ropes, so everyone is busy hiding ropes. The Germans entered the room. According to the plot, the next step should be to search for the rope. However, there is a discussion about aristocratic honor. The German noble officer asked the French noble officer to assure him with the honor of nobility that "there is no attempt to escape from prison in this room". So it seems that the audience can taste the upbringing of a noble. Renoir talked about the handling of plot in the film, which made his works tend to record and formed a realistic style.

Another important feature of The Great Disillusionment is the sound processing in the film. First of all, in the use of language, this is reflected in two aspects: First, the mixture of German, French, English and Russian in the film enriches the performance of the film's voice, while the conflict of the language itself causes the drama and complexity of the narrative. In a sudden deployment, French prisoners of war left their escape routes that were about to be dug. When they passed the Russian prisoners of war, they tried to tell the Russians, but they left because of the language barrier. Secondly, the language and dialogue in the film show the different identities and classes of the characters at the same time, indicating the alienation between people. However, many languages in the film should also be said to have strong traces of artificial carving. Secondly, the processing of music, which almost plays a leading role in movie motivation. The ditty played by the flute appeared several times in the film: the first time the flute sounded was when planning to escape from prison; When he escaped from prison, the French noble officer attracted the attention of German officers with a flute, which led to his death. After the prison break, the flute made two quarrelling people get back together, and so on. Music plays a key role in the important moments of movies and plays a leading role in narration. Renoir's use of sound is really unique.

When analyzing The Great Disillusionment, Master said: "In this film full of disastrous political disillusionment, it is difficult to decide which one is' big'. Can war solve political disputes? Is there a national border or no national border? Is there no class difference? Are ethnic differences stronger than class differences? Or is class difference stronger than ethnic difference? No matter which of these specious fantasies is bigger, the Great Disillusionment clearly condemns the depravity and redundant figures of the ruling class who caused this war and will be destroyed by this war. European aristocrats committed suicide gracefully in World War I. Turning life into a ruthless murder game, plus a set of artificial rules, will eventually turn life into death. " In this film, Renoir's above hints are expressed with a special theme in his next film "Rules of the Game".

In the Rules of the Game, Renoir "depicts the value of death in a dead society-in fact, two dead societies-a society with rich masters and a society with parasitic servants who imitate the false gentlemen of the masters. Both master and servant value appearance more than sincerity, and value the frank expression of human feelings, and the inevitable result is death. "In the process of death, the film reveals that lying is the normal state of the upper class, and whoever violates it will suffer. According to the characteristics of the novel, the film is carefully constructed by emphasizing parallel events, parallel structures, parallel characters, parallel reactions and parallel details. Meister said: "These visual parallelism and intellectual parallelism endow Renoir's films with novel richness and complexity. However, the literary structure of the film is supported by Renoir's keen visual sense. The lens of nature, faces and social groups visually produces the meaning of the film and the control of the mood of the work. "However, this kind of work also gives people a feeling that the curtain is open, which is a combination of reality and fiction. Of course, Renoir's scenery is based on reality, creating a visual space suitable for the producer's subjective choice. And this just meets the needs of his aristocratic theme.

There are two scenes in the rules of the game: one is hunting, which shows the death of small animals. After the gunfire rang, the small animals died in the tumbling, which is a dance of death and a disgusting beauty. In this performance, Renoir was almost entirely filmed by documentary method. Second, the gathering here is another kind of death, which is about the death of the Dance Academy. Skeletons flying on the stage, live ammunition shooting under the stage, and finally the pilot died like a small animal, which is another terrible beauty.

These two heavy scenes constitute the core of the meaning and artistic conception of the film. All the pain and sadness in the film are by-products of happiness in life. At the same time, it is also caused by the golden mean philosophy of the upper class. For example: let poachers come to the villa; A lover who leaves her husband; Take the pilot to his sister's house, etc. It can be said that it is a golden mean mistake. The movie itself is a big game, and everyone abides by their own rules in the game. There are still accidents in the game, and they are only accidents. Nobody will take it seriously. This is just part of the game. In a sense, this film reflects Renoir's deep sorrow. He inherited his sincere love for life from his father, but on the other hand, he endured to participate in the "game". The profound thing about this film is that it doesn't blame anything. The characters in the play are gentle, and everyone acts in good faith according to their own human nature and social constraints. The deeper sorrow here is the sorrow of life. At the same time, Renoir's own sense of the mean is also reflected in the film. In the Rules of the Game, he embodies this gentle attitude through specific characters and plots. However, in the great disillusionment, the doctrine of the mean has caused another result. Because Renoir's handling of the political, national, ethnic, class and friendship issues in German prison camps during World War I was ambiguous, Goebbels edited the film into a film for Germans during World War II. Renoir is said to be extremely angry, but this is the inevitable result of the "golden mean" thought in his works.

The rules of the game, like other films shot by Renoir, are decided by himself in the handling of photography style. In this film, he continues his hard work style from shrew to depth of field, and he attaches great importance to the importance of scene scheduling in the picture. During his extensive use of mobile phone photography, he revealed the complex and dramatic relationship between people. This highlights the unique humor and sense of humor of the French, as well as the artistic attitudes of naturalism and realism. People are full of praise for the movement of the camera and the use of the deep focus lens in this film, and the distance is very clear. Because it was a rare photography method at that time. This is also an important reason why this film often ranks first and is known as the best film. Bazin also pointed out in Fifteen Years of French Film: "In this way, Rules of the Game is a film with superb director style, and we can still learn from its technology." He also said: "Especially movies like Mr. Longji's Crime or Rules of the Game show the maturity of drama, the complexity of conception, the delicate expression of emotion and the delicate characterization. It can be said that since Renoir, film has become a mature art comparable to novels. "

Renoir never repeats himself in his creation. He can not only make exploration films, but also films ordered by the government. He can shoot realistic films and costume films; He can shoot in France or in America.

This does not mean that Renoir is not serious, but in fact, his films often contain his meditation and strong social content.

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