The Rules of the Game (1939)
Directed by Jean Renoir
The Marquis de la Chesnaye and his wife host a weekend gala where a variety of complicated romantic and social entanglements between guests and servants lead to tragedy, all against the backdrop of a looming war.
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What critics compared The Rules of the Game to
He has created a parody of the traditional drawing-room murder mysteries in the Agatha Christie vein and combined it with a lusty, more subversive kind of "Upstairs Downstairs," along with hints of the classic Jean Renoir comedy "The Rules of the Game."
Echoing Jean Renoir's The Rules of the Game, Gosford Park concerns a weekend shooting party for the elite.
There's a murder and obsequious, dull-witted Inspector Thompson (Stephen Fry) investigates, tiptoeing around his suspects like a toady, but the mystery spoof is merely a structure for Altman's empathetic take on Jean Renoir's biting, bitter satire "The Rules of the Game."
"Gosford Park" is "The Rules of the Game" reimagined as an English murder mystery.
This farce is an unsparing (though not uncompassionate) portrait of so many levels of South Korean society, reminiscent of Jean Renoir’s The Rules of the Game.
As a great film from nearly 80 years ago (Jean Renoir's The Rules of the Game) posited, everyone has their reasons, and the fact that a genre entry of this nature, with no intrinsic need of being philosophically nuanced, goes out of its way to endow even its ostensible villains with comprehensible motives rates as a notable achievement.
By 2024, it may be classified alongside Welles's "Citizen Kane" and Renoir's "The Rules of the Game" as one of the great film classics of our time.
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Like Carnal Knowledge (which some consider Nichols’s best film, written—interestingly enough—by Jules Feiffer, who also wrote Popeye , which some consider Altman’s worst film), Closer is self-consciously hip, and like the more organic We Don’t Live Here Anymore earlier this year, both play and film could just as easily have been called The Rules of the Game, because Marber and Nichols (like Larry Goss) generate considerable excitement from watching people betray each other.
Or a Christmas party at a house where animal heads—including those of dogs—decorate every room and the guests blast away with pistols at their not-so-imaginary class enemies, recreating in their monied barbarism the rabbit-hunting sequence in “The Rules of the Game.”