The Skeleton Dance/ La Regle Du Jeu

Before this viewing I had never seen The Skeleton Dance, but had only heard of it. Sure, I may have seen a few seconds to know of its existence, but that's it. It starts out with an owl on a macabre full-moon night hooting, almost waking the bones from the crypt. The witching hour sounds, an old hound howls at the moon, two black cats like sentinels frame the first skeleton to sneak across the graveyard, and ultimately déplume the frightened owl. One skeleton becomes four, and they start their ritualistic dance. What attracts me most about this is how insanely synced the short is to the "symphony" especially for 1929 standards. The animation, too, of the skeletons is sharp and fine. The silliness throughout makes this more jovial than frightful, and I'm sure children and adults alike were pleased with what they were watching back in the day. It makes me reflect on my grandfather and grandmother, who at the time when this short premiered were eight and nine respectively. Of course, they didn't watch it then as both were no where near a theatre, nor did they have the money (this was during the fateful year of the market crash). Ironically, the film makes me reflect on my own past, and not to the future and of death. Who's topic matter is dearth of life, this film is full of mirth and life.

**1/2

Directed by the the masterful Jean Renoir, the film begins with uplifting classic music which halts to the "bruit" of the crowd attending the touchdown of recent "célèbre" Andre Jurieux, who made his way across the Atlantic in 23 hours for a foreign girl bereft of pretense. This film is not about the stirring that was happening on the European continent (or is it?). Several men, gentlemen with honor and valor being seduced by a foreign presence. A metaphor for the Nazi regime soaring into power, and causing great nations to appease and rub shoulders with the meteoric rise of the eventual super-power that was the Nazi party. It's hard to imagine that this could have been in Renoir's head as he produced the film just one year before the Vichy regime started in France. But then again, seeing this film and his two previous films La Bête Humaine, and La Grande Illusion, it's not that hard to believe. He had a habit of showcasing his eye for a beautiful shot, and subtle allegory. He was one of the masters.

This film is poetry on celluloid. Each shot shows great reservation. The film is oozing with French sentiment that, though not apparent at the time, is stereotyped now. All that matters in life is love and the potential of love. What we now see as Presidential farce in France; a standard in Gaulish society today, was almost taboo when the film broke onto the scene. The film is filled with these French nuances from campagne folk, to hunting, to talking about food, to the difference between adieu and au revoir. The list goes on and on. I love this film. This isn't merely about the love tetrahedron that is displayed quite heavy handedly in the film, it's about the persistent social stratification that persisted even in the 30's. The servants, maids, shoe boys. They all ate separate, even below the high society. Although they had import position and were a huge help to society, they tended to be brushed aside by those of a higher caste.

What struck me the first time (and consequently further viewings) was the juxtaposition of the rabbit and pheasant hunt, and the unfortunate death of Andre Jurieux at the end of the film. Jurieux's body language as he fell stiff to the ground immediately recalled the hunt. Renoir's craft working effortlessly. Octave's relinquish of the woman that he had loved for years is so gut-wrenchingly sad, it makes you glad that the film is nearly over so you can crawl into your bed a lament all the people you were in love with that you lost or let slip through your fingers. Although Renoir's acting chops are utile, save for last scene, his gift is really behind scenario and behind the camera. A flaw of the film is the lack of focus. Another, as weird as it sounds, is the physical similarities between several of the characters. It can make it confusing for the viewer to follow. The sweetness, the nostalgia, the bedroom farce, the humanity, and lack thereof. This film is way ahead of its time, and is unique. The film was lost for a time, and once found has been lauded as one of the greatest films of all time. Renoir is a true auteur worthy of the praise. He was and still is a shining star in the firmament of film history. And La Règle du Jeu is one of his greatest creations.

****1/2