La Chienne


2h 1931
La Chienne

Synopsis

Cashier Maurice Legrand is married to Adele, a terror. By chance, he meets Lucienne, "Lulu", and make her his mistress. He thinks he finally met love, but Lulu is nothing but a streetwalker, in love with Dede, her pimp. She only accepts Legrand to satisfy Dede's needs of money.

Videos

Movie Clip

La Chienne (a.k.a. The Bitch) (1931) -- (Movie Clip) You Spoil Me, Darling Some time into their affair, far-from-wealthy bureaucrat LeGrand (Michel Simon) ends an evening with his mistress Lulu (Janie Parèse), sending her up to the apartment he pays for, furnished with his own paintings, still unaware that she’s giving his money to her boyfriend and de facto pimp Dèdè (Georges Flamant), in Jean Renoir’s La Chienne, a.k.a. The Bitch, 1931.
La Chienne (a.k.a. The Bitch) (1931) -- (Movie Clip) Men Are Such Bores Jean Renoir directing his second sound feature, at a Paris art-scene salon, prostitute Lulu (Janie Parèse), who’s posing as fictional Clara, a suddenly popular painter, in a dancing-fight with her pimp-partner Dèdè (Georges Flamant) works with cohorts Alexandre Rignault, Pierre Desty and Lucien Mancini to schmooze a new customer (Jean Gehret), in La Chienne, a.k.a. The Bitch, 1931.
La Chienne (a.k.a. The Bitch) (1931) -- (Movie Clip) You Call That Passion? Following his first meeting with Paris streetwalker Lulu, cashier LeGrand (Michel Simon), known around his office as a boring fellow with a domineering wife, returns home to her (Madeleine Berubet), angered over his timing and his painting hobby, in director Jean Renoir’s celebrated second sound feature, La Chienne, a.k.a. The Bitch, 1931.
La Chienne (a.k.a. The Bitch) (1931) -- (Movie Clip) Get Your Claws In This Guy From director Jean Renoir, shooting on location in Paris, the first scene (following an earlier introduction) for Lulu (Janie Marèse) and Dèdè (Georges Flamant), meeting LeGrand (Michel Simon), the notoriously dull guy who chose not to attend the after-party following a company banquet, early in La Chienne, a.k.a. The Bitch, 1931.
La Chienne (a.k.a. The Bitch) (1931) -- (Movie Clip) Open, A Stirring Social Drama The opening credits to Jean Renoir’s sensational second sound feature (he first made a quick farcical comedy, to show producers his ability with the new medium), then a framing device, using puppets to introduce his stars, Michel Simon, Janie Marese and Georges Flamant, in La Chienne, a.k.a. The Bitch, 1931.

Film Details

Also Known As
Bitch, The, Chienne
Genre
Drama
Foreign
Release Date
1931
Distribution Company
Interama Inc; Kino Video

Technical Specs

Duration
2h
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1

Articles

La Chienne


One of the great films of classic French cinema, Jean Renoir's La Chienne (1931) was almost one of those masterworks - like Ophüls' Lola Montes (1955), Welles' The Magnificent Ambersons (1942) and Renoir's own The Rules of the Game (1939) - that were butchered and mishandled in distribution by producers who didn't understand or appreciate the director's vision.

Although French producers didn't usually wield the power that Hollywood executives had at the same time, they weren't totally hands off. Initially, Renoir wanted to cast Catherine Hessling, his then wife and star of his silent film Nana (1926), as the female lead. Producer Roger Richebé refused and insisted on relative newcomer Janie Marèse to play the treacherous Lulu. Renoir had to work with her to make her rather refined accent match her character's low class background. He suggested she imitate Maurice Chevalier.

After shooting was complete, Richebé took the film away from Renoir and assigned Hungarian director Paul Fejos to edit. Unhappy with his edit, Richebé then gave it to the film's sound editor Denise Batcheff. Unable to get a satisfactory cut, Richebé was finally persuaded to allow Renoir back into the studio from which he had banned him, some sources say thanks to the influence of a friend who had put money into the production.

Renoir had a particular interest in having this film presented at its best. Sound had recently come to France, and producers were eager to make the most of the large number of stage actors available at the time. According to Richard Roud in his introduction to Rediscovering French Film, to show producers he was capable of working in the new medium, Renoir quickly made a Feydeau farce, On Purge Bébé (1931), taking the daring and sensational step of recording the sound of a flushing toilet.

In La Chienne, he took innovation even further, refusing to shoot his Montmartre street scenes in a studio or use simulated effects. The result was the first sound film in France to be shot and recorded live in real locations. He also contributed to what Roud called "one of the glories of the French cinema," the use of music, not just as background but as a narrative device. Most notably, a murder in an upper-story Montmartre room takes place predominantly off screen, accompanied by the uninterrupted strains of a singer and musician on the street below.

Shooting this way proved to be far more costly and time-consuming than the Feydeau quickie, and Richebé, who hated the finished product, continued to try to suppress exhibition. But critics were stunned, the film was a financial success and Renoir acknowledged it as a turning point in his career: "I believe that in it, I came near to the style that I call poetic realism." (Jean Renoir, My Life and My Films).

By Renoir's own admission, his ambitious dreams for this production were at least in part to blame for his contentious relationship with Richebé:

"I must admit that I was ruthless and unbearable. I made the film as I wanted, without the slightest regard for the wishes of the producer. I never showed him a single page of my shooting script or a word of the dialogue, and I arranged it so the rushes would remain unavailable until the film was completed. That was when the scandal broke." (December 1938 issue of Le Point)

According to Renoir, Richebé had expected "a vaudeville" instead of this downbeat story of infidelity, betrayal and murder, albeit one with some black humor. Because it was initially played up in publicity as a comedy, the film's first screening in Nancy was a disaster. After Renoir insisted all future promotions reflect the true tone, the film opened in Paris and did well.

This confusion of mood was actually addressed by the director in the picture's opening sequence, a puppet show in which three puppets argue over the introduction of the story. One calls it a social drama that proves vice doesn't go unpunished, another calls it a comedy with a moral. The third has the last word saying it is neither comedy nor drama with no moral message and nothing to prove. The film then opens out from the puppet proscenium, one of several frames within frames by which Renoir presents the action, finally closing on this same set as the curtain comes down on the puppet show.

If the story seems familiar - henpecked husband has an affair with a duplicitous woman using him for money she can give to her pimp lover - that's because it was remade by Fritz Lang as Scarlet Street (1945), with Edward G. Robinson in the leading role originally played by Michel Simon. French director Jean-Pierre Melville later expressed interest in doing his own version, but that never happened.

The two second leads, Marèse (in only her second feature) and Georges Flamant (a Simon discovery making his debut), fell in love during filming. Not long after the picture was completed, the two were driving in the south of France when Flamant lost control of his car. Marèse was killed in the wreck, and Flamant was branded "un assassin" in the French press. The French film industry, including a furious Simon, ostracized him. It took several years for his reputation to recover, but he enjoyed a long career ending with a role in François Truffaut's The 400 Blows (1959).

Director: Jean Renoir
Producers: Roger Richebé, Pierre Braunberger
Screenplay: Jean Renoir, from the novel by Georges de la Fouchardière
Cinematography: Théodore Sparkuhl
Editing: Paul Fejos, Denise Batcheff; Jean Renoir, Marguerite Renoir (both uncredited)
Art Direction: Marcel Courmes
Cast: Michel Simon (Maurice Legrand), Janie Marèse (Lulu), Georges Flamant (Dédé), Roger Gaillard (Alexis Godard), Pierre Desty (Gustave), Magdelaine Berubet (Adèle)

By Rob Nixon
La Chienne

La Chienne

One of the great films of classic French cinema, Jean Renoir's La Chienne (1931) was almost one of those masterworks - like Ophüls' Lola Montes (1955), Welles' The Magnificent Ambersons (1942) and Renoir's own The Rules of the Game (1939) - that were butchered and mishandled in distribution by producers who didn't understand or appreciate the director's vision. Although French producers didn't usually wield the power that Hollywood executives had at the same time, they weren't totally hands off. Initially, Renoir wanted to cast Catherine Hessling, his then wife and star of his silent film Nana (1926), as the female lead. Producer Roger Richebé refused and insisted on relative newcomer Janie Marèse to play the treacherous Lulu. Renoir had to work with her to make her rather refined accent match her character's low class background. He suggested she imitate Maurice Chevalier. After shooting was complete, Richebé took the film away from Renoir and assigned Hungarian director Paul Fejos to edit. Unhappy with his edit, Richebé then gave it to the film's sound editor Denise Batcheff. Unable to get a satisfactory cut, Richebé was finally persuaded to allow Renoir back into the studio from which he had banned him, some sources say thanks to the influence of a friend who had put money into the production. Renoir had a particular interest in having this film presented at its best. Sound had recently come to France, and producers were eager to make the most of the large number of stage actors available at the time. According to Richard Roud in his introduction to Rediscovering French Film, to show producers he was capable of working in the new medium, Renoir quickly made a Feydeau farce, On Purge Bébé (1931), taking the daring and sensational step of recording the sound of a flushing toilet. In La Chienne, he took innovation even further, refusing to shoot his Montmartre street scenes in a studio or use simulated effects. The result was the first sound film in France to be shot and recorded live in real locations. He also contributed to what Roud called "one of the glories of the French cinema," the use of music, not just as background but as a narrative device. Most notably, a murder in an upper-story Montmartre room takes place predominantly off screen, accompanied by the uninterrupted strains of a singer and musician on the street below. Shooting this way proved to be far more costly and time-consuming than the Feydeau quickie, and Richebé, who hated the finished product, continued to try to suppress exhibition. But critics were stunned, the film was a financial success and Renoir acknowledged it as a turning point in his career: "I believe that in it, I came near to the style that I call poetic realism." (Jean Renoir, My Life and My Films). By Renoir's own admission, his ambitious dreams for this production were at least in part to blame for his contentious relationship with Richebé: "I must admit that I was ruthless and unbearable. I made the film as I wanted, without the slightest regard for the wishes of the producer. I never showed him a single page of my shooting script or a word of the dialogue, and I arranged it so the rushes would remain unavailable until the film was completed. That was when the scandal broke." (December 1938 issue of Le Point) According to Renoir, Richebé had expected "a vaudeville" instead of this downbeat story of infidelity, betrayal and murder, albeit one with some black humor. Because it was initially played up in publicity as a comedy, the film's first screening in Nancy was a disaster. After Renoir insisted all future promotions reflect the true tone, the film opened in Paris and did well. This confusion of mood was actually addressed by the director in the picture's opening sequence, a puppet show in which three puppets argue over the introduction of the story. One calls it a social drama that proves vice doesn't go unpunished, another calls it a comedy with a moral. The third has the last word saying it is neither comedy nor drama with no moral message and nothing to prove. The film then opens out from the puppet proscenium, one of several frames within frames by which Renoir presents the action, finally closing on this same set as the curtain comes down on the puppet show. If the story seems familiar - henpecked husband has an affair with a duplicitous woman using him for money she can give to her pimp lover - that's because it was remade by Fritz Lang as Scarlet Street (1945), with Edward G. Robinson in the leading role originally played by Michel Simon. French director Jean-Pierre Melville later expressed interest in doing his own version, but that never happened. The two second leads, Marèse (in only her second feature) and Georges Flamant (a Simon discovery making his debut), fell in love during filming. Not long after the picture was completed, the two were driving in the south of France when Flamant lost control of his car. Marèse was killed in the wreck, and Flamant was branded "un assassin" in the French press. The French film industry, including a furious Simon, ostracized him. It took several years for his reputation to recover, but he enjoyed a long career ending with a role in François Truffaut's The 400 Blows (1959). Director: Jean Renoir Producers: Roger Richebé, Pierre Braunberger Screenplay: Jean Renoir, from the novel by Georges de la Fouchardière Cinematography: Théodore Sparkuhl Editing: Paul Fejos, Denise Batcheff; Jean Renoir, Marguerite Renoir (both uncredited) Art Direction: Marcel Courmes Cast: Michel Simon (Maurice Legrand), Janie Marèse (Lulu), Georges Flamant (Dédé), Roger Gaillard (Alexis Godard), Pierre Desty (Gustave), Magdelaine Berubet (Adèle) By Rob Nixon

Quotes

Trivia

Miscellaneous Notes

Released in United States 1931

Released in United States 1975

Released in United States July 1990

Released in United States on Video August 31, 2000

Released in United States September 21, 1966

Shown at New York Film Festival September 21, 1966.

Shown at New York Film Festival September 27 & October 4, 1975.

Shown at The Public Theater (Renoir Retrospective) in New York City July 18-19, 1990.

Released in United States 1931

Released in United States 1975 (Shown at New York Film Festival September 27 & October 4, 1975.)

Released in United States July 1990 (Shown at The Public Theater (Renoir Retrospective) in New York City July 18-19, 1990.)

Released in United States on Video August 31, 2000

Released in United States September 21, 1966 (Shown at New York Film Festival September 21, 1966.)