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French and Spanish popular fronts : comparative perspectives / edited by Martin S. Alexander and Helen Graham.

. French and Spanish popular fronts : comparative perspectives / edited by Martin S. Alexander and Helen Graham. 0521350816 series Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1989.
Call#: Van Pelt Library DC396 .F73 1989

    This chapter recounts the origins of the Popular Front in France. Because I am trying to trace the historical significance of Renoir’s film, I think an overview of historical events of the time is important for the paper.
    In November 1933, a financial scandal, the Stavinsky affair, plagued the Radical cabinet, as its members were implicated in it. After Stavinsky was found dead, the president was forced to resign. Edouard Daladier formed a new Radical government, including conservatives but dismissing rightist sympathizer Jean Chiappe to appease the left. On February 6, 1934, right-wing leagues demonstrated angrily and sometimes violently against the new cabinet in response to the Stavinsky affair, the Radicals in office, the dismissal of Chiappe, and the economic depression. The protests became so heated that Blum claimed the fascist right was attempting a coup d’etat to overthrow the government. At the time, the left was very divided. The Communists bitterly accused the Socialists and Radicals of defending the corrupt government that was exploiting workers. However, in the week after the February 6 riots, a nationwide strike and peaceful demonstrations against fascism spread across the country. In one key demonstration, Communists and Socialists had a confrontation, but instead of bitterness there were handshakes and cheering, a clear indication of the desire to work together.
   For a while the different groups of the left struggled to find common ground. However, the Communist Thorez came forward with a proposal of cooperation to ensure the alliance of the middle class.? He called for a Popular Front, the word “front” indicating that military would be used to combat fascism. On Bastille Day in July all the groups making up the Popular Front gathered, put aside differences, took an oath of unity, and celebrated. Aside from the Socialists, Communists, and Radicals, smaller leftist organizations participated, such as the League of the Rights of Man, youth organizations, and the Mouvement des Femmes. For the 1936 elections, the Front decided to support the candidate who led on the first ballot. On February 13, 1936, Leon Blum was nearly lynched by right extremists, but people saw in him all that was best about the Republic. After the elections, Blum was selected president and the Popular Front gained a majority in the Chamber.
   This history shows that Le Crime de Monsieur Lange was made at the height of the Popular Front’s naissance. Many saw the victory as a sign of hope in the years ahead, so perhaps this had an influence on the film.

Film art : an introduction / David Bordwell, Kristin Thompson.

Bordwell, David. . Film art : an introduction / David Bordwell, Kristin Thompson. 0201005662 series Reading, Mass. : Addison-Wesley Pub. Co., c1979.
Call#: Van Pelt Library PN1995 .B617

Much of the section about Le Crime de Monsieur Lange echoes what many of my other sources have said about the film. However, Bordwell and Thompson take special note of the use of deep space within the film. Made famous in Citizen Kane, the use of deep space is no less admirable and important here. In many shots several actions occur at once, usually one inside and one outside. However, both actions are equally distinguishable and equally significant. The authors give a few examples in which the deep spacing is vital to the importance of the shot. The first involves the scene in which Batala is about to flee from creditors. As he is packing, we can see the official in the background passing through the hall. Another instance is when Charles arrives in a taxi with a broken leg. The framing both reveals Charles within the Taxi and family members and friends outside leaning against the window. Finally, once the Billboard is removed, we can see the entire court in deep focus, including the crowd’s fetching of Estelle from the laundry room across the court.
Bordwell and Thompson argue that the use of deep focus is vital for the message of the film. It prevents the audience from focusing on a single action on a shot, and instead forces us to examine the entire frame. In addition, it stresses the importance of community. In almost every shot there are characters in the background of the central action, and this never lets us forget that the characters are influenced by and a part of the larger social. In addition, Bordwell and Thompson recognize that in some scenes conversations between different sets of people occur in the same shot, connected by the fluidity of the camera movements. They cite the scenes in the crowded publishing house as examples of this, as characters move throughout the crowd and interact with different people.

Figures of Narration in Le Crime de Monsieur Lange

"Figures of Narration in Le Crime de Monsieur Lange"by Leland Poague

The New Orleans review [0028-6400] 17.2 (1990). 22-.

    I chose this essay by Leland Poague because it argues against the views of others critics I have cited. It directly questions the notion of a circular structure in the film and the established interpretation that the 360-degree pan symbolizes a collective responsibility for Batala's death. Poague calls into question many of the shots previously described as circular. He describes each shot in detail, and concludes that none of them are truly circular; in fact some have triangular or irregular shapes. He also calls into question Andre Bazin's description of the courtyard as circular, because in many shots he notices the yard looks like a collection of triangles. Thus, Poague decides to view the film from a triangular perspective. He notes many triangular relationships between characters, but focuses on the one connecting Batala, Lange, and Valentine. He notices Oedipal overtones in this relationship because of the many similarities between Lange and Batala that are evident in the film. For example, in one scene the two characters are framed in closeup, each the mirror image of the other. Lange lives on an upper floor (an indication of his belonging to the middle class), and is presented as Batala's right-hand man. He imitates Batala's cigarette gestures and both are "all hands and body language." Finally, the parallel editing of Lange's lying to Charles about Estelle and Batala's rape-seduction of Estelle shows that Batala may be acting out Lange's fantasy.
    After Batala leaves, Lange seems to take his place. He sort of becomes the leader of the company, and even movies into Batala's office. When Batala comes back, Lange tries to buy off Batala just like Batala tried to buy off his creditors. The Oedipal overtones are even more obvious in the scene in which Lange and Valentine are making love and the radio announces Batala's apparent death. With all this in mind, Poague interprets the 360-degree pan very differently. When the pan is executed, we don't see characters that encourage his decision. Rather, we only see closed windows, which convey the fact that Lange is acting independently and is actually distant from the other cooperative members. In the end, Lange is persuaded to flee just like Batala was.
    Poague's interpretation is called into question because of the frame story, but he suggests that we take a different view of the film's narration. He argues that there are two narrators, Valentine and one he calls "Renoir". Because Valentine loves Lange, there is obviously bias in her telling of the story. We can view her narration as the one cited by critics such as Sesonske and Faulkner, that Lange was acting for the community. However, Poague's previous discussions make up "Renoir's" narration. Valentine would obvious not pick up upon the similarities of Batala and Lange. In the end, Poague still agrees with my overall thesis that Renoir champions Popular Front ideology. However, he disagrees with the notion that Lange is symbolic for the good inherent in the Popular Front.

Feminine Narrative and the Law in Renoir's "Le Crime de M. Lange"

Feminine Narrative and the Law in Renoir's "Le Crime de M. Lange" by Lyall Bush

Cinema Journal, Vol. 29, No. 1 (Autumn, 1989), pp. 54-70

    Bush’s essay about Le Crime de Monsieur Lange focuses on the ending of the film from a psychological perspective. She cites Marx and Lacan in order to describe the psychological impact of ideologies on individuals. Individuals act within the established social norms of society (the Law of the Father), and do so unconsciously, blind to the ideologies they follow. Because of the Oedipal relationship between Lange and Batala, the Law of the Father comes into play. Batala can be seen as the "Father" figure who represents the established ideologies that Renoir wishes to question and abandon. Batala’s power is manifest from the beginning of the film. He has control over language (and thus ideas), evident in early scenes when he gives advice to his writers and often rewrites their pieces to his liking. His power is metaphorically indicated by the fact that his office is on the top floor while the laundresses work downstairs. Finally, he owns the publishing business and thus has complete control of its financial workings and its workers. However, as the film progresses this Father figure is defeated. The initial victory comes after Batala fakes his own death and the workers acquire the publishing house. The death of Estelle’s baby, fathered by Batala, is also optimistic as it prevents the Father’s succession. After Batala is gone, the publishing house is able to prosper with Lange’s creative ideas for Arizona Jim, now under his control.
    The ending, however, emerges as a great contradiction, as there is a "disjunction between transgression as capitalism and transgression as the way one escapes from it." In other words, even though Batala is an evil character, the act of killing him is still viewed as unacceptable by society. Bush interprets this ending as the piecing back together of the Father previously thought defeated. Even though they broke the law, Valentine and Lange still follow it when they leave the country. This can be seen as conveying the futility of trying to escape from ideologies. Although their footprints in the sand will be washed away, in this fading away the Father is returning in favor of the old law. Even Batala’s murder can be interpreted as carried out under the law of the Father, because Batala suggests that Lange should kill him.
    This essay is similar to Reader's in that both interpret the ending as taking away from the optimism of the rest of the film. In relation to my larger investigation, Lyall's piece ackowledges Renoir's attempt to push Popular Front ideology. However, he argues that Renoir questions whether the Front can bring about the change it desires and stresses that there is still a lot of work to be done.

Feature Films as History

Feature Films as History, 1981, Chapter 4, Elizabeth Grottle Strebel

    Strebel focuses her analysis of Le Crime de Monsieur Lange on the history of its production. She gives a detailed description of how the film came to be made, and she believes this history is critical in understanding the film.
    The movie was filmed in just under thirty days in October and November of 1935, a few months after the Popular Front formed and garnered much support. In 1935, both Pathe and Gaumont filed for bankruptcy, leading to an influx of smaller production companies and a freer atmosphere for filmmakers. It was during this period that Renoir had the most control over his creative expression. He was able to personally select his collaborators, and drew heavily from the October Group, which he greatly admired. The October Group was a radical theater company that rejected bourgeois theater and favored a theater of the masses. It was affiliated with larger organizations, such as the Communist sponsored Federation du Theatre Ourvrier, which was involved in assisting labor. A chief influence on the film was Communist poet Jacques Prevert, largely responsible for the script. Another influence was Jacques Castanier, who is credited with coming up with the idea of a courtyard being at the film's center.
    Because of its production history, Strebel believes that the film in its entirety is a celebration of Popular Front ideals. She notes that the word “l’ange” in France means angel, and thus believes the film eulogizes Lange and his actions. After all, the October Group’s productions also celebrated and poeticized the working class. Strebel also sees the film’s ending as optimistic, especially since at the time the film was made the Popular Front was gaining power and instilling hope in the people of France who feared fascism.

Jean Renoir. / Edited with an introd. by FrancL'ois Truffaut. Translated from the French by W. W. Halsey II and William H. Simon.

Bazin, AndreL