Renoir And The Boy With Long Hair

While at an exhibit of his father's paintings, Jean Renoir recalls how his father, Pierre-Auguste Renoir, refused to let him has his very long hair cut short as his father loved to paint the sunlight glinting off of it.

Pierre-Auguste Renoir came from humble means and started out as an apprentice. After taking free art classes, he was admitted to a well-known art school in Paris and went on to become one of the greatest Impressionist painters. Readers learn about his life in Paris, his famous painter friends, and the Impressionist movement. The text features some of Renoir’s earliest and best-known works, along with the stories behind their creation. Information-rich sidebars aid in bringing Renoir’s artistic biography to life.

Now back in print, the definitive biography of a seminal figure in film history, whom Orson Welles called “the greatest of all directors.” Jean Renoir’s career almost spans the history years of cinema–from the early silent movies, to the naturalism of the talkies, committed cinema, film noir, Hollywood studio productions, the Technicolor-period comedies and fast television techniques. His film The Grand Illusion remains one of the greatest movies about the effects of war. Decades after its release, Renoir’s The Rules of the Game (1939) is the only film to have been included on every top ten list in the Sight & Sound's respected decennial poll since 1952, cementing Renoir’s influence. André Bazin and François Truffaut praised Renoir as the patron saint of the French New Wave. Jean Renoir: Projections of Paradise gives detailed accounts of Renoir’s working methods and captivating appraisals of his films, and his long and fascinating life from his blissful childhood as the son of the great Impressionist painter August Renoir. This is a must-read for students of film and all fans of entertaining, timeless movies.

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A City witch and a country witch visit each other and mischief ensues

This is an extended analysis of the film, from different perspectives. The first half is largely a discussion of the cinematic technique, with key sequences analyzed shot by shot. The second half approaches the film from many other angles, including its history, the critical reception, Renoir’s life and career, and film theory, e.g., film in relation to music. A case is made that Renoir’s career was inconsistent, especially after La Règle du jeu but also during the 1930s. And rather than emphasizing the humanist, anti-war thrust of La Grande Illusion, the film is approached as a work of art that is deeply expressive cinematically.