the theater of love
by Douglas Messerli
Jean Renoir (screenplay, adaptation
with Jean Serge, and dialogue), Jean Renoir (director) Elena et les hommes / 1956, USA release 1957
He, in turn, introduces her to Rollan, whereupon, a love triangle is immediately established, continuing a few days later in the country house of Martin-Michaud, whose son, also about to be married, carries on with the servants while Elena shifts her lovers from room to room—a hilarious series of frames that immediately recalls Renoir's earlier film, Rules of the Game. While that satire, however, had serious consequences, Elena, although occasionally suggesting the state of the nation is at stake, represents more a theater of the heart than a theater of war; and Renoir seems determined to move entirely out of the realm of realism by ultimately encamping the three in a whore house, surrounded by the police, gypsies, and Rollan's adoring public.
In order to help Rollan escape, Henri must stand in for Elena's lover,
as they kiss before a window with the crowds watching below. Elena is, at
first, angry with his behavior, but gradually she warms up to his amorous
embraces as the crowd is transformed, like beings out of A Midsummer Night's
Dream into a kissing and embracing tangle of bodies.
Some critics, particularly The New
York Times's Bosley Crowther, were outraged by what they saw as an inferior
Renoir film. Crowther blamed Warner Brothers executives as having interfered
with the cutting: "How this fiasco could have happened is difficult to
explain." The work, alternated, he declared, between a romantic drama and
a slapstick farce. Jack Warner himself had complained that he found Renoir's
plot incomprehensible.*
In fact, Elena et les hommes is a farce from beginning to end; like the
films that came before, it is a work that embraces the love of all things
theatrical, realities larger than life. Accordingly, the film is also movingly
romantic; "Was there ever a more sensuous actress in the movies?"
asks Roger Ebert of Ingrid Bergman. Jean Marais is a dashing hero, Henri a
handsome lover, and the two of them keep the forceful Elena from having to deal
intensely with the reality of her existence. Together they help her rush
bravely forward into territory where angels fear to tread, and ultimately
reward her with a fabulous life of fiction as opposed to a shabby existence
with a venal businessman.
Once again, Renoir celebrates romance over the ordinary, the fantastic
over the real, sex over frozen commitment.
*To give Crowther his due, the
version he probably saw was the American editing, Paris Does Strange Things,
which Renoir disavowed as his own work.
Los Angeles, April 29, 2010
Reprinted from Green Integer Blog (April 2010)
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