Renoir是“詩意現(xiàn)實主義電影大師”，竊以為，所謂詩意現(xiàn)實主義電影，就是將內(nèi)在的自然主義風格和表象的形式主義風格糅合在一起其實質(zhì)是飽含著對現(xiàn)實世界的關(guān)注和愛的電影表現(xiàn)形式.此片絕對可以稱為Jean Renoir詩意現(xiàn)實主義作品的代表作。
  我看的是電影于1959年重映的版本，導演在篇首語中告訴我們，“電影拍攝于二戰(zhàn)前夕的1939年，并非對當時社會道德之研究，且本片人物純屬虛構(gòu)?！? 此話頗有“此地無銀三百兩的味道”，顯然，導演對于自己的電影有意或無意中預見到了法國上層社會在二戰(zhàn)中的崩潰感到些許得意，他完全有理由得意，導演用感性的，詩意的，又充滿形式美感的鏡頭語言給我們描繪了一個充斥著奢華的外表，卻實際上空虛，腐朽的法國上層社會的圖景。他們的聚會充滿了無聊，空洞的對話，庸俗的戲劇，殘忍的狩獵和“奇技淫巧”（男主人Robert對機械鐘的瘋狂熱愛）。 他們沒有對愛情，（“所謂上層社會的愛情，就是兩個幻想的交融和兩個肉體的接觸。”）友情的追求，有的只是對自身利益的追求和保留所謂面子的重要性。活脫脫一個“忽喇喇之大廈將傾”的圖景。
  電影中對所謂法國下層社會的人們是帶著某種贊許的，雖然電影中的那些下層社會的仆人們也沾染了他們的主人們愛說人小道消息的習氣，但是他們努力工作，充實的過著每一天的生活。電影中惟一被表現(xiàn)為反面人物的，是好吃懶做，勾人妻女的仆人Marceau,他總是受到主人Robert的庇護，真所謂一丘之貉。我們甚至可以從導演的鏡頭語言中看出來，有著許多上層社會人物出現(xiàn)的鏡頭里，總是充滿著不規(guī)則且凌亂的人群，導演在此明顯暗示著他們的不團結(jié)，和烏合之眾的實質(zhì)。但有著那個守林人Schumacher和自己的仆人隊伍出現(xiàn)時，鏡頭里總是有著整齊劃一的美感。此中深意一看便知。
  電影的結(jié)局具有某種”悲慘的諷刺性”，兩個在電影中對愛執(zhí)著，對愛真誠的人物一個成了殺人犯（Schumacher），一個成了被殺者（André）。在這個虛偽的社會里，真誠是一個玩不起的東西。
  

 雷諾阿的不朽杰作，首次推出時遭到禁映，直到1959年威尼斯電影節(jié)才恢復原貌。故事發(fā)生在二戰(zhàn)前夕，一群法國貴族在某莊園共度周末，由此反映出階級矛盾、社會沖突等形形色色的人性瑕疵。所謂游戲的規(guī)則，就是說謊言和欺騙等卑劣手段是戰(zhàn)前法國社會不可違背的游戲規(guī)則，誰要是違反了這一規(guī)則，就要被當時的社會圈子所滅殺，成為那個社會的犧牲品。

影片融合了各種風格，從寫實到幻想，從喜劇、悲劇到言情，各種元素都得到發(fā)揮。但影片的寓意卻非常明顯，殘忍的狩獵場景將批判矛頭直指人性的異化和殘忍，而且還帶出導演對于社會黑暗勢力的無可奈何以及當時社會前景的悲觀失望。

偉大的時代總有偉大的電影，而這些電影往往分2類，一類開啟了一個新的時代，如《火車大劫案》，《一個國家的誕生》，《精疲力盡》，《偷自行車的人》。。。。。。

另一類電影則代表了一個時代，一個電影時期的終結(jié)，如〈貞德的受難〉，〈卡利亞里之夜〉。。。。。。

〈游戲規(guī)則〉就是這樣一部電影，它代表了雷諾阿輝煌的法國時期的結(jié)束，整個30年代從詩意寫實到寫實到“左派”到和平主義，最后，雷諾阿拍制了這部他稱為“喜劇”的重要電影。這部電影同時也是對戰(zhàn)前有聲電影的總結(jié)，更代表了一個時代的終結(jié)——屬于貴族時代的歷史將徹底結(jié)束。

盡管雷諾阿只把這部作品看作是自己對古典喜劇的野心嘗試，影片的故事也確實有著狄德羅時代喜劇的外貌，但是，明顯影片并不止步于此，雷諾阿也承認，他一直在對腐朽的社會做批判，不管導演是否有意，我們在影片里看到的是最后貴族的沒落，對社會現(xiàn)實的批判，正因為如此，39年的觀眾把此片看為對統(tǒng)治階級的攻擊，雷諾阿費盡心思的影片遭到他一生最慘痛的失敗，雷諾阿本人稱為生平最大的恥辱，好在戰(zhàn)后這部影片的價值得到了承認，在威尼斯，影片座無虛席。雷諾阿高興的看到自己曾經(jīng)的恥辱是值得的。

雷諾阿在這部影片里給總結(jié)了他他貫穿整個30年代的個人風格——

1。深焦調(diào)度，前景和后景的事件同時發(fā)生，后景向前景的運動使得我們看到不同事件同時發(fā)生，觀眾自己選擇了注意力。同時也隨著運動和演員的視線，聲音，表現(xiàn)了開放的畫外空間。

2。龐大復雜的運動，可以說本片的攝影機基本沒停過，隨著一個個段落鏡頭，我們看到了精彩的敘事，這些鏡頭沒有好萊塢的軸線限制，同時保證著影片的節(jié)奏（這部影片的節(jié)奏明顯是分段式的）同時運動的規(guī)律又有著完美的平衡。

3。精彩的場景調(diào)度，配合著攝影機的運動，影片中的人物也在環(huán)境里不停的運動，他們在別墅里穿插走動，尤其是舞會和其后的眾人沖突而亂做一團形成敘事的高潮。攝影機和演員的場景調(diào)度讓人驚嘆的完美，即便是在今天也沒有這么精彩的長時間段落鏡頭。

4。敘事格調(diào)的突然轉(zhuǎn)變，這是雷諾阿最顯著的個人風格，從悲劇到喜劇，敘事的格調(diào)在雷諾阿的影片里會出現(xiàn)突然的轉(zhuǎn)變看似不連貫而又混然天成，溶為一體（〈鄉(xiāng)村一角〉可以視為代表），如——片中某些喜劇性的段落是按追逐片的節(jié)奏來處理的；另一方面，在索羅紐打獵的情景則好象為紀錄片提供了一個殘酷悲慘的主題。

這4個個人風格是時刻結(jié)合在一起的（說明這些其實需要更細致的例子分析和圖片），達成一種形式，形式就是內(nèi)容，影片給了觀眾全知的視點，從而讓他們跟隨攝影機，跟隨著演員進入腐朽，無聊的上層社會，了解社會虛偽的“游戲規(guī)則”。

影片展現(xiàn)了歐洲貴族的最后沒落，這些上層人物過著空虛無聊而又奢華生活，在一個個感情游戲中打發(fā)日子，他們無法確定自己的感情，也無法控制事態(tài)，男男女女們互相在面具下過著虛偽的生活。而這一切都建立在一個“游戲規(guī)則”上，那就是——謊言。

說謊就是“上流社會”的法則，從媒體到個人，大家都精心編制著保護傘式的謊言，在明亮的場合，人人在掩飾真相，而似下他們則另有一套，人們相互欺騙，影片中“誠實”的飛行員違背了這個法則，在結(jié)尾，他就被暗中射來的子彈打死了，而引發(fā)一系列悲喜劇在上層社會出現(xiàn)的無業(yè)者（由雷諾阿本人飾演），偷獵者，飛行員為了使一切恢復到正常秩序，在故事結(jié)束時這些人就統(tǒng)統(tǒng)被清除了（死亡，離開）。

影片很明顯的表現(xiàn)了貴族階層的沒落，他們已經(jīng)走向自己時代的終點，他們的“游戲規(guī)則”已經(jīng)變成了一系列掩蓋自己的謊言，影片的最后，主人掩蓋了死亡事件的真相，讓大家早點安睡，他走進屋子，走進最后虛偽的掩蓋，他們對外部世界的告別標志著由貴族階層主導統(tǒng)治的歐洲歷史走到了盡頭，盡管片子并沒有替代他們的強有力的人物形象。

在雷諾阿的影片中，沒有邪惡的人物，正如片中的名言“每個人都有自己的理由?！边@句話也成為雷諾阿影片的代表。

人物與環(huán)境的完美結(jié)合，鮮明的個人風格，復雜龐大的布景和運動造就了這部偉大的喜劇，而這喜劇中蘊涵著的悲劇正如片中的一個場景，雷諾阿扮演的角色在一個虛擬的舞臺表演，他面對不存在的觀眾興致勃勃的做了幾個動作，最后失落的坐在臺階上，片中所有人物都是如此，面對這“游戲規(guī)則”，他們是那么厭惡現(xiàn)實，想要逃避，卻無能為力。。。

Coeurs sensibles, coeurs fidèles,
Qui blamez l'amour léger,
Cessez vos plaintes cruelles:
Est-ce un crime de changer?
Si l'Amour porte des ailes,
N'est-ce pas pour voltiger?
N'est-ce pas pour voltiger?
N'est-ce pas pour voltiger?
(acte IV, scène 10)


L'aviateur André Jurieux a traversé l'Atlantique en solitaire pour conquérir le c?ur de Christine, une femme mariée à un aristocrate parisien. Son exploit semble avoir laissé la dame indifférente. Meurtri, Jurieux tente de se suicider. Son ami Octave le fait inviter chez Christine et son époux pour une partie de chasse en Sologne.

Devenu culte après avoir été maudit (mutilé, censuré...), ce vaudeville aigre a été con?u dans l'atmosphère trouble de l'avant-guerre, à une époque où une partie de la société fran?aise ignorait qu'elle dansait sur un volcan. Renoir s'inspire de Beaumarchais et de Musset. Et il dirige ses comédiens, inoubliables, en pensant à la frénésie de la musique baroque, à la verve trépidante de la commedia dell'arte (Dalio en aristo frimeur, Carette en braconnier gouailleur, Paulette Dubost en soubrette, Gaston Modot en garde-chasse crucifié).

Cette comédie-mascarade entre bourgeois et domestiques est doublée de gravité, à l'image de la partie de chasse, macabre prémonition d'un massacre. Renoir le moraliste y développe son thème de prédilection : le monde est un théatre, la société un spectacle, et chacun a ses raisons de changer de r?le, d'abuser des règles du jeu.

écrit par NAGEL MILLER


Jean Renoir: La règle du jeu - Diane Morel
Editions Bréal, 1998 - 127 頁
http://books.google.com.hk/books?id=oPYS3VsvKlkC&printsec=frontcover&dq=Jean+Renoir:+La+règle+du+jeu+-+Diane+Morel&hl=zh-TW&ei=4NH8TZvxBIbmvQPEtfyqAw&sa=X&oi=book_result&ct=result

In The Rules of the Game, the hunting scene foreshadows the murder of Andre. The upper-class with their servants committed the murder, and the weaker is the victim, both the rabbits and Andre who doesn’t suit for this world full of lies. Masters and servants regarded the hunting as a game, in which they obtained entertainment. In the same, when Andre was shot dead, the master replaced “murder” with “coincidence”. For these reasons, the scene of hunting plays an extremely vital role in the whole film. Most obviously, it differs from other scenes in terms of visual style.
In most parts of the film, Renoir is a cool narrator, directing with still shots and panning shots. He admitted that he “wanted the audience to have the impression they were seeing a single shot following the people and that there had not been any cutting” . When Octave is guided into Christine’s bedroom, to the living room with Robert, and to the hall with the server , the scenes are mainly quite long and moving in panoramas. No careful close-ups revealing the spirit status of people. Renoir’s camera is just like an observer watching a show from a long distance. Similarly, throughout the last part of the film, the murder, the camera even gets trapped in a corner, where it is forced to watch the action from a fixed position. No intervene to break the long action, no agony when the murder happens. Renoir observed it in a half amused and half anxious way.
However, the hunting scene is an exception. It’s the fastest-pace scene in the film with a lot of cuttings. Initially, it requires fast rhythm when shooting the scene of rabbits running and birds flying. Moreover, the scene constantly cuts between different running rabbits and the hunters, in order to make a tense atmosphere for the rabbits and an enjoyable atmosphere for the hunters. Thus the contrast forms.
Also, it uses much more close-ups than the other scenes. The extremely wonderful close-up is a dying rabbit, even struggling to kick its legs like a kind of dancing. It’s vivid and cruel to represent it with a totally complete and clear close-up as long as 3 seconds, which puts the misery before death directly in front of us, scares us and arouses our sympathy.
The fast cutting and the close tracking of the rabbits imply the hunting scene is no longer Renoir’s calm description from an angle of observer. Actually, we can rarely see any other scenes filled with feelings like this one. Even the murder scene is designed to be as less objective and less striking as possible. But the result turns out to be infectious and impressive, which should owe to the hunting scene, as a metaphor of the murder, attracts more attention than the murder.
The hunt scene tells more about the murder than the murder scene itself. In the hunting, the wealthy masters act as murders, and the servants as accomplices. The servants drive the rabbits and birds to a certain direction for their masters, and the masters enjoy the feast of killing. In terms of the form, this “outdoors” scene has a lot in common with the “inner” world of the mansion.
Just like the rabbits running here and there, Andre, Robert, Christine, Lisette, the gamekeeper Schumacher and the poacher Marceau hide-and-seek in the same way. The hiders want to escape just like the rabbits do, all of them risking their lives with guns pointed to them.
The chateau is holding a big show, at the same time, a chasing show is on display. It’s so ridiculous and ironic a scene that wealthy masters and servants in tidy and noble clothes chased each other like hunters and frightened animals. No wonder the spectators who were watching the show regard it totally as part of the acting. Spectators didn’t take it seriously, just as a game.
Like the chaos during the hunting, inside the mansion there’s a big mess. The relationship among people is complicated, unexpected people joining the chasing game. Some were sad, mad, and some were terrifically delighted, correlated with people’s reaction after the hunting.
The mostly important quality in common between the outside hunting and the inside chasing is that, in essence, it’s the people who get control of weapon control the game. In face of guns, fastest rabbits can only survive due to luck. The gunman is also bound to shoot somebody, who turns out to be Andre, the most innocent one in the bloody game. Why is Schumer, the gamekeeper designed to shoot Andre dead? Because he is the gamekeeper, who puts the game in order and tells people to follow the rules with his gun. The word “gamekeeper” is a kind of metaphor itself. Faced with the coming World War II the society was like a huge hunting game, where who has the weapons controls the game.
Renoir commented on The Rules of the Game that “it’s a film about a group, a film representing a society.” A society that “everything they believed in was collapsing” . “It’s not so difficult to work well when the compass of anxiety points in the true direction.” However, this movie was a resounding flop after releasing because of this true direction revealed in the movie.
The Rules of the Game was made just before the war. Renoir said in making it, he had wanted to make a film in which French society was seen as “dancing on a volcano”. And beneath its seemingly innocuous appearance the story attacks the very structure of society.
Renoir preferred to let actors play in the décor and catch them unawares. The camera established a “narrator” whose stance and gestures express an inhuman indifference to the human figures within its world. The suffering and joys of the inhabitants of that world move us, although the camera frames that world as if it were inhabited by puppets, not people. For example, we never know Christine well although she is the main role. What she thinks? What she wants? Most of the characters are too mysterious to dig out.
The only exception is Andre. At the very beginning sequence, Andre came back as a hero, but burst out truth, unable to conceal his emotions. There are master level, servant level and bottom level (as Marceau), but there’s no level that Andre belongs to, because he is the only honest person in the movie. Robert is tired of love affairs with his mistress. Christine says I love you to three different men since she knew Robert’s betrayal, which are neither true nor totally false. Lisette is the mistress of Octave and she flirts with Marceau. Octave, Andre’s honest friend, wants to occupy Christine by his own. It’s a world full of lies, and survival of the fittest. Octave comments Andre is floating in the air while Robert is on the ground. At last the most honest person is out of game and Andre’s murder is covered with another lie of “incidence”.
The Rules of the Game is a continuous integrity, full of metaphors and poetic rhythms. Among them the hunting scene is worth discovering. It differs from the other scenes with a fast cutting and represents extremely strong emotions. The wealthy masters as well as their servants regard shooting as a game, and replace murder with incidence. The mess both inside and outside of the mansion shows a world of lies, dangerously living on and on.


References:
1. Jean Renoir: Renoir on Renoir, News, Essays and Remarks, Translated by Carol Volk, Cambridge University Press, 1989
2. Andre Bazin: Jean Renoir, Simon and Shuster New York, first published in France in 1971 English translation in 1973
3. Jean Renoir: My life and my Films, William Collins & Sons an Atheneum Publishers Inc
4. Peter Wollen: La Regle du jeu and Modernity, first published in Film Studies, 1,1999. Reprinted in Wollen’s Paris Hollywood: Writings on Film. Verso, 2002
5. William Rothman: The Filmmaker Within the Film: The Role of Octave in the Rules of the Game, Quarterly Review of Film Studies, 7(3), Summer 1982
6. Ginette Vincendeau: The Exception and the Rule, Sight and Sound, vol.2, no.8, December 1992:34
7. Laurence Wylie: La Verite Derriere les Masques, quarterly Review of Film Studies, 7(3), Summer 1982

    初看《游戲規(guī)則》，仿佛一部愛情輕喜劇，聚焦上流社會復雜的男女關(guān)系，但當大宅前人獸散盡，字幕打出“FIN”，帶來的觀影體驗又遠超出觀眾預期——悲喜交加，混亂中摻雜幾分戲謔，才完整構(gòu)成一部《游戲規(guī)則》。
    兩場狩獵戲占據(jù)全片重要位置，導演在視覺上的處理并不花哨，而采用更為樸素的自然風格，表面平靜，危機暗涌；狩獵需遵守規(guī)則，否則就是“偷獵”，人際何不如此！上流社會的游戲規(guī)則即無盡的謊言，虛偽成為愛或保護的借口，偶爾如朱利約、馬素一類冒險家，懷揣理想主義，靠著膽大或小聰明闖入，也抵不過在留下短暫笑料后悲劇收場。片中舒馬赫永遠一身軍裝，面容冷酷，不知是否想暗喻他另一層身份：維護貴族秩序的警衛(wèi)，將不合規(guī)矩的人永遠驅(qū)逐。
    如觀眾所料，混亂終于在宴會上引爆，這段場景被后世奉為經(jīng)典不無道理，雷諾阿將一貫的深焦調(diào)度發(fā)揮到極致，前、后景演員事件同時發(fā)生，互相獨立又彼此相關(guān)，配合攝影機運動，營造出強大空間縱深感。隨著鬧劇升級，人物間運動或交叉或并進，都在有條不紊中展開；甚至還出現(xiàn)一兩次被好萊塢視作大逆不道的越軸，卻也迎合了場景所需混亂情緒。
   攝影機運動代替剪輯完成景別變換在全片俯拾皆是，代替了交代環(huán)境和人物關(guān)系時呆板的剪輯，真正做到了將大信息量融入單個鏡頭，行文簡潔而激情。
   上文所提及的朱利約、馬素，雖有令人敬佩的獨立人格，但前者過于情緒化，后者性格懦弱，真正引起觀眾情感共鳴的，是那個最不起眼的奧塔夫。人人身邊都有這樣一位朋友，沒有出眾的外表或萬貫家財，能力平庸，待人卻驚人地坦誠，毫無心機，愿意為朋友放棄本屬自己的機會。這樣的小人物，注定無法適應游戲規(guī)則，他的退場，比起飛行員和小混混，更能虜獲觀眾的同情。片中奧塔夫由導演雷諾阿親自扮演，表現(xiàn)力不遜普通演員。
   《游戲規(guī)則》最初上映時曾遭惡評一片，被媒體批為傷風敗俗，直到1959年威尼斯電影節(jié)重映，人們才重新認識到它的偉大。游戲規(guī)則也會隨社會變化，而經(jīng)典總能耐住時間，等待規(guī)則合適之日，向世人展現(xiàn)它被低估的精華。