LE DÉJEUNER SUR L'HERBE / PICNIC ON THE GRASS (1959)

In retrospect, the highly theatrical mid-‘50s trio of THE GOLDEN COACH/’52, FRENCH CANCAN/’55 & ELENA ET LES HOMMES/’56 something of an artistic last hurrah for iconic French film master Jean Renoir.  But his adoption as father-figure/mentor by the Nouveau Vague crowd, spurred by a post-war re-release* of LA RÈGLE DU JEU/’39, led to reviews that bent over backwards to praise some frankly diminished work.  This one at least a reasonable facsimile of the Renoir of old.  The basic idea a social satire in plein air of modern technical aridity vs. less efficient old/natural ways.  (Sort of 1959 digital vs. analogue.*)  But oh so obvious in content, tone & dialogue; even a bit condescending in how it celebrates simple country folk & chance vs. city sophisticates & fact-based rationality.  Paul Meuriêsse is the brilliant data-oriented man-of-science hoping to revolutionize mankind with artificial insemination, he’s also top candidate to lead the new European Union.  But when he gets lost in the countryside while celebrating his betrothal to an asexual militaristic kraut after a literal new wind blows in courtesy of a Pan figure with goat & musical pipe (!), he’s rescued by partying locals and gets to know the joys of life fully lived by earthy coquette Catherine Rouvel (a Claudia Cardinale type, but dreadful) and her friendly gang of revelers.  Ironically, she’d already met him as an unlikely volunteer for his fuck-free baby-making treatment.   (Don't worry, baby-making au naturel but a fade-out away.)  Putting this silliness in an ultra-natural environment ought to produce some kind of artistic frisson, but it plays like a Ruritanian operetta that’s lost its music and hence its raison d’être.  Happily, the film is often very pretty to look at, and, with less of an intellectual bent in a more spirited second half, things improve as they go along.  There’s even a marvelous shot that sums up the entire film when M. Learned and Mme. Free-Spirit take off on a borrowed Vespa, her ‘pack’ riding right behind them on a winding country road.  And not a Pan in sight.

ATTENTION MUST BE PAID:  *RULES OF THE GAME less re-release than first release since the film had effectively been banned during Occupation after its brief disastrous opening run.

DOUBLE-BILL:  *Jacques Tati’s greatest film, MON ONCLE/’58, buries all competition on the subject of modern technology vs. the charm of old-school inefficiency.