Renoir's reclaimed classic literally and metaphorically bombed at its time of release. Banned by the censors, prints destroyed by a wartime blitzkrieg, the film was initially reproached for being too "difficult" to fully appreciate. Renoir's previous successes included La Grande Illusion (1937) and La Bête Humaine (1938) but due to the onset of war it wasn't until 1959 that La Règle du Jeu's depth of meaning and innovative, highly influential use of camerawork was recognised as a true mark of genius.

High-flying André Jurieux arrives back in France after a record breaking Atlantic crossing, only to have the women of his dreams fail to welcome his return. The lady in question, Christine de la Chesnaye, claims to a mutual friend Octave, (Jean Renoir), to be unaware of André's love interest. Christine agrees to invite André, along with her husband, his lover and an assortment of guests and staff, to their grand estate for a shooting party. As the bullets start to fly, the divisions between class, sex, social values and even dietary needs, open up like a gaping wound.
		The divisions between class, sex, social values and even dietary needs, open up like a gaping wound.

Renoir's exceptional camerawork, particularly the long, in-depth shots, are still a revelation and create a fluidity and naturalistic style of direction that few achieve today, despite technical advancement. The tracking shot used during the beaters' scene is possibly one the most exhilarating sequences in cinema.

Dovetailed with this is Renoir's seamless dissection of the French class system. Riddled with pretension, hypocrisy and jealousy the aristocrats and lowlifes are locked together by an anachronistic tradition on the verge of collapse.

Justifiably placed at number three in the BFI's Sight and Sound critics' top ten, Renoir's classic is still unmissable.

Clare Norton-Smith