Abstract
Jean Renoir’s Le Crime de M. Lange (1935) was one of the most politically charged films of the thirties. It was executed by a team largely composed of members of the leftist cultural Groupe Octobre and was deeply inspired by Popular Front consciousness. Its narrative centered on a workers’ co-operative formed to take over a bankrupt publishing company run by the deceitful and slippery capitalist Batala. Perhaps even more remarkable than this readily accessible dialectical narrative is a parallel dialectic of Renoir’s cinematic language. Here fragmentive editing and use of Hollywood découpage classique1 defines the world of Batala, whereas long takes, a highly mobile camera that tracks and pans, and depth of field photography produces a sense of organic binding that characterises the artistic/proletarian alliance sparked by Lange. In both form and in content, Le Crime de M. Lange can be seen as a metaphor for the dramatic polarisation of French society in the mid-thirties and more specifically for polarisation within the film industry, epitomised by Renoir’s own personal artistic and ideological struggle against a certain film industry ‘establishment’.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Notes
This phenomenon is a reflection of a larger trend in French society at the time, described in Charles Micaud’s The French Right and Nazi Germany, 1933–1939 (Durham, N.C.; Duke University Press, 1943).
This is the figure of Raymond Borde, Director of the Cinémathèque of Toulouse, cited in Eric Losfeld, Deuxiéme Cinécure. Les Français et leur Cinéma 1930–1939 (Creteil: Maison de la Culture, 1973) p. 6. It may be a slight exaggeration, but nonetheless, the percentage is quite high.
Raymond Chirat, Catalogue des Films Français de Long Métrage, Films Sonores de Fiction 1929–1939 (Brussels: Royal Cinémathèque of Belgium, 1975).
Editor information
Editors and Affiliations
Copyright information
© 1982 Nicholas Pronay and D.W. Spring
About this chapter
Cite this chapter
Strebel, E.G. (1982). Political polarisation and French cinema, 1934–39. In: Pronay, N., Spring, D.W. (eds) Propaganda, Politics and Film, 1918–45. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-05893-8_8
Download citation
DOI: https://doi.org/10.1007/978-1-349-05893-8_8
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-05895-2
Online ISBN: 978-1-349-05893-8
eBook Packages: Palgrave Political & Intern. Studies CollectionPolitical Science and International Studies (R0)