The Films of Sidney Lumet: Adaptation as Art
1967; University of California Press; Volume: 21; Issue: 2 Linguagem: Inglês
10.2307/25700406
ISSN1533-8630
Autores Tópico(s)Theatre and Performance Studies
Resumoanalyze in Rules of the Game, and which can also be found in Grand Illusion, La Marseillaise, or Toni, is characteristic of the films of Renoir before his period of exile in America. The years he spent in the United States accentu ated his taste for plastic creation and reflection upon artistic tradition. In The Diary of a Chambermaid, The Golden Coach, French Cancan, and Elena et les hommes, we find a structure, a direction of actors, a taste for the which recall those of Rules of the Game, but the director has moved gradually towards a cinema of (in the most generous sense of the word), towards a universe of form, color, and brio, in which the game element has decisively prevailed over critical reflection. In Renoir's earlier films, moreover, in Nana, Madame Bovary, Boudu, and as far as La Chienne or The Lower Depths, the ap peal of the theater as diversion lent to the acting and direction a freedom, an inventive ness, a refusal of cinematic convention which we have come to associate with Renoir's name.
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