Jean Renoir: influences, peers and legacy

Every connection with its receipt

Jean Renoir came to cinema from painting, carrying his father's canvases and Zola's novels into the deep-focus, wandering-camera style that defined 1930s French realism. This mix traces the silent-era models that pulled him into film, the Paris avant-garde he financed and orbited, and the New Wave and world directors who claimed him as father.

The Kynda mix for Jean Renoir

• Key Influence · Foolish Wives by Erich von Stroheim (1922). Renoir repeatedly described seeing Stroheim's work in the early 1920s as the shock that convinced him cinema could be a serious art and that he should abandon ceramics for filmmaking. The obsessive detail, moral squalor of aristocrats and continental settings echo through Renoir's own studies of decaying gentility. He later cast Stroheim as Von Rauffenstein in La Grande Illusion, closing the circle between admirer and idol.,
• Influencia Obscura · Menilmontant by Dimitri Kirsanoff (1926). A silent, intertitle-free tragedy of two sisters in working-class Paris, shot by a Russian emigre on almost no money. Kirsanoff belonged to the same fringe of 1920s French independent production in which Renoir was self-financing La Fille de l'eau and Nana by selling his father's paintings. Its street-level fatalism and use of real Parisian districts prefigure the poetic realism Renoir would harden into the 1930s.,
• Local Roots · Hotel du Nord by Marcel Carne (1938). Carne's canal-side Paris boarding house is the other face of late-1930s French poetic realism, made in the same studios with the same technicians and actors as Renoir's Popular Front pictures. Where Renoir spread his camera across a social group, Carne stylized fate into doom; critics have paired and contrasted the two ever since as the twin poles of French cinema on the eve of the war.,
• Beyond the Medium · Nana by Emile Zola (1880). Renoir sank much of his inheritance into adapting Zola's novel in 1926, and returned to Zola for La Bete humaine in 1938. Naturalism's insistence that environment and class determine behaviour underpins Renoir's whole method: real locations, sound recorded live, characters who are neither villains nor heroes. Zola had also been a friend and defender of Renoir's father's Impressionist circle.,
• Peer · L'Atalante by Jean Vigo (1934). Vigo's canal-barge romance came from the same brief window of French independent production as Renoir's Boudu Saved from Drowning, and both films find lyricism in water, drifters and improvisation on real locations. Michel Simon anchors both, playing a shaggy force of nature; Vigo's early death left Renoir as the surviving carrier of that anarchic, humane strain of 1930s cinema.,
• From the Canon · La Regle du jeu by Jean Renoir (1939). Butchered on release and reconstructed in 1959, Renoir's country-house comedy of masters, servants and a fatal hunt became a permanent fixture of the Sight and Sound greatest-films poll. Its deep-focus staging, roaming camera and refusal to grant anyone the moral high ground — everyone has their reasons — made it the template Truffaut, Altman and Rivette worked from.,
• Key Collaborator · Casque d'or by Jacques Becker (1952). Becker was Renoir's assistant director through the 1930s, working on Boudu, Les Bas-fonds, La Grande Illusion and La Marseillaise, and was close enough to be considered a disciple. His Belle Epoque underworld romance, with its Montmartre riverside light and unforced sensuality, applies Renoir's lessons in period reconstruction and ensemble warmth to his own tougher fatalism.,
• Legacy · Les Quatre Cents Coups by Francois Truffaut (1959). Truffaut championed Renoir at Cahiers du cinema, called him the greatest of directors, corresponded with him and edited a collection of his writings. The New Wave's location shooting, tolerance toward flawed characters and open endings descend directly from Renoir; Truffaut's debut ends on a freeze-frame that refuses judgement in exactly the spirit of everyone has their reasons.,

What influenced Jean Renoir

• Erich von Stroheim. States Renoir was inspired by Erich von Stroheim's work. (also via Foolish Wives) “He was particularly inspired by Erich von Stroheim 's work.” (Wikipedia)
• Charlie Chaplin. Renoir watched Chaplin's films while recuperating, an early cinematic influence. (also via The Gold Rush) “watching films, including the works of Charlie Chaplin , D.W. Griffith and others.” (Wikipedia)
• Pierre-Auguste Renoir. States Renoir's father had a profound influence on him and his work. (also via Bal du moulin de la Galette) “Renoir's loving memoir of his father, Renoir, My Father (1962) describes the profound influence his father had on him and his work.” (Wikipedia)
• D. W. Griffith. Renoir is listed among filmmakers who praised Griffith. (also via Broken Blossoms) “Filmmakers such as Alfred Hitchcock , [ 35 ] Lev Kuleshov , [ 36 ] Jean Renoir , [ 37 ] Cecil B. DeMille , [ 38 ] King Vidor , [ 39 ] Victor Fleming , [ 40 ] Raoul Walsh , [ 41 ] Carl Theodor Dreyer , [ 42 ] and Stanley Kubrick have prai…” (Wikipedia)
• Foolish Wives by Erich von Stroheim (1922). Foolish Wives (Erich von Stroheim) — titan for Jean Renoir “He was particularly inspired by Erich von Stroheim's work.” (en.wikipedia.org)
• The Gold Rush by Charlie Chaplin (1925). The Gold Rush (Charlie Chaplin) — titan for Jean Renoir “His leg injury left him with a permanent limp, but allowed him to develop his interest in the cinema, since he recuperated with his leg elevated while watching films, including the works of Charlie Chaplin, D.W.” (en.wikipedia.org)
• Bal du moulin de la Galette by Pierre-Auguste Renoir (1876). Bal du moulin de la Galette (Pierre-Auguste Renoir) — culture for Jean Renoir “Renoir was the son of the painter Pierre-Auguste Renoir and the uncle of the cinematographer Claude Renoir.” (en.wikipedia.org)
• Les Caprices de Marianne by Alfred de Musset (1833). Les Caprices de Marianne (Alfred de Musset) — culture for Jean Renoir “Director Jean Renoir's La règle du jeu (The Rules of the Game) was inspired by Musset's play Les Caprices de Marianne.” (en.wikipedia.org)
• Auguste Renoir. The writer states Jean Renoir inherited his artistic sensibility from his father, the painter Renoir. “Jean Renoir lleva en la sangre ese arte que here dó de su padre, el gran Renoir.” (El Sol (Phoenix, Ariz.))
• D.W. Griffith. Renoir watched Griffith's films while recuperating, an early cinematic influence. “watching films, including the works of Charlie Chaplin , D.W. Griffith and others.” (Wikipedia)
• Alexandre Dumas. Renoir names Alexandre Dumas as a lifelong literary discovery/influence. “I discovered Alexandre Dumas when I was about ten. I am still discovering him.” (Wikipedia)
• Gabrielle Renard. States Gabrielle Renard's introduction of puppet shows influenced Renoir's film career. “She introduced the young boy to the Guignol puppet shows in Montmartre, which influenced his later film career.” (Wikipedia)
• Broken Blossoms by D. W. Griffith (1919). Broken Blossoms (D. W. Griffith) — titan for Jean Renoir “Filmmakers such as Alfred Hitchcock, Lev Kuleshov, Jean Renoir, Cecil B.” (en.wikipedia.org)
• Menilmontant by Dimitri Kirsanoff (1926). Menilmontant (Dimitri Kirsanoff) — ghost for Jean Renoir (themoviedb.org)
• Rien que les heures by Alberto Cavalcanti (1926). Rien que les heures (Alberto Cavalcanti) — ghost for Jean Renoir (themoviedb.org)
• La Souriante Madame Beudet by Germaine Dulac (1923). La Souriante Madame Beudet (Germaine Dulac) — ghost for Jean Renoir (themoviedb.org)
• Nana by Emile Zola (1880). Nana (Emile Zola) — culture for Jean Renoir

Peers and kindred spirits

• Le Mystere Picasso by Henri-Georges Clouzot (1956). Le Mystere Picasso (Henri-Georges Clouzot) — collaborator for Jean Renoir “At the time of Claude Renoir's death, The Times of London wrote of The River that "its exquisite evocation of the Indian scene, helped to inaugurate a new era in the cinema, one in which color was finally accepted as a medium fit for gre…” (en.wikipedia.org)
• La Belle Equipe by Julien Duvivier (1936). La Belle Equipe (Julien Duvivier) — geography for Jean Renoir “Jean Renoir called him, a "great technician, [a] rigorist, a poet".” (en.wikipedia.org)
• Casque d'or by Jacques Becker (1952). Casque d'or (Jacques Becker) — collaborator for Jean Renoir “Several of Renoir's crew members, including Satyajit Ray, Luchino Visconti, Robert Aldrich and Jacques Becker, would go on to become highly acclaimed directors in their own right.” (en.wikipedia.org)
• Pepe le Moko by Julien Duvivier (1937). Pepe le Moko (Julien Duvivier) — collaborator for Jean Renoir “Jean Renoir called him, a "great technician, [a] rigorist, a poet".” (en.wikipedia.org)
• French Cancan. French Cancan is credited as Jean Renoir's film, presented out of competition at Cannes. “al éxito alcanzado en la presenta ción, fuera de concurso, de su gran película French Canean.” (El Sol (Phoenix, Ariz.))
• María Félix (1914). María Félix's performance as Belabesa was shaped by director Jean Renoir, who is credited with bringing out her merits. “María Félix ha encontrado en Renoir el realizador que le ha hecho poner de relieve sus mé ritos en el papel de Belabesa,” (El Sol (Phoenix, Ariz.))
• Centro Sperimentale di Cinematografia. States Renoir taught film at the Centro Sperimentale di Cinematografia in Rome. “He was sent back to Italy, to teach film at the Centro Sperimentale di Cinematografia in Rome, and resume work on Tosca .” (Wikipedia)
• Jean Gabin (1904). Renoir cast and worked with Jean Gabin in La Grande Illusion. “In 1937, he made La Grande Illusion , one of his best-known films, starring Erich von Stroheim and Jean Gabin .” (Wikipedia)
• Claude Renoir. Renoir collaborated with his nephew, cinematographer Claude Renoir, on The River. “With Claude, he made The River (1951), the first color film shot in India .” (Wikipedia)
• Coco Chanel (1883). Chanel designed costumes for Renoir's film La Règle du jeu. (via La Règle du jeu) “Chanel went on to design the costumes for several French films, including Jean Renoir 's 1939 film La Règle du jeu , in which she was credited as La Maison Chanel” (Wikipedia)
• Hotel du Nord by Marcel Carne (1938). Hotel du Nord (Marcel Carne) — geography for Jean Renoir (themoviedb.org)
• L'Atalante by Jean Vigo (1934). L'Atalante (Jean Vigo) — peer for Jean Renoir (themoviedb.org)
• La Femme du boulanger by Marcel Pagnol (1938). La Femme du boulanger (Marcel Pagnol) — peer for Jean Renoir (themoviedb.org)

Who Jean Renoir influenced

• François Truffaut (1932). States Truffaut was influenced by Renoir's films. (also via The Golden Coach, The Rules of the Game, The 400 Blows) “François Truffaut , [ 94 ] Robert Altman , [ 95 ] Errol Morris [ 96 ]” (Wikipedia)
• Robert Altman. States Altman was influenced by Renoir's films. (also via The Rules of the Game, Nashville) “François Truffaut , [ 94 ] Robert Altman , [ 95 ] Errol Morris [ 96 ]” (Wikipedia)
• Martin Scorsese. States Scorsese was influenced by Renoir's films. (also via The River, La Grande Illusion) “Errol Morris [ 96 ] Martin Scorsese [ 97 ] and Mike Leigh . [ 98 ]” (Wikipedia)
• French New Wave. Jean Renoir's films were praised by the Cahiers critics. “He was an influence on the French New Wave , and his memoir is dedicated "to those film-makers who are known to the public as the 'New Wave' and whose preoccupations are mine."” (Wikipedia)
• Satyajit Ray (1921). Ray worked as a crew member for Renoir before becoming an acclaimed director himself. (also via Pather Panchali) “Several of Renoir's crew members, including Satyajit Ray , [ 99 ] Luchino Visconti , [ 100 ] Robert Aldrich [ 101 ] and Jacques Becker , [ 102 ]” (Wikipedia)
• Jacques Becker (1906). Becker worked as a crew member for Renoir before becoming an acclaimed director himself. (also via Casque d'or) “Several of Renoir's crew members, including Satyajit Ray , [ 99 ] Luchino Visconti , [ 100 ] Robert Aldrich [ 101 ] and Jacques Becker , [ 102 ]” (Wikipedia)
• Les Quatre Cents Coups by Francois Truffaut (1959). Les Quatre Cents Coups (Francois Truffaut) — legacy for Jean Renoir “In 1954, Truffaut wrote an article in Cahiers du cinéma, "Une Certaine Tendance du Cinéma Français" ("A Certain Trend of French Cinema"), in which he attacked the state of French films, lambasting certain screenwriters and producers, and…” (en.wikipedia.org)
• Pather Panchali by Satyajit Ray (1955). Pather Panchali (Satyajit Ray) — legacy for Jean Renoir “Several of Renoir's crew members, including Satyajit Ray, Luchino Visconti, Robert Aldrich and Jacques Becker, would go on to become highly acclaimed directors in their own right.” (en.wikipedia.org)
• Nashville by Robert Altman (1975). Nashville (Robert Altman) — legacy for Jean Renoir “Renoir's films have influenced many other directors, including Éric Rohmer, Jean-Marie Straub and Danièle Huillet, Peter Bogdanovich, François Truffaut, Robert Altman, Errol Morris Martin Scorsese and Mike Leigh.” (en.wikipedia.org)
• Éric Rohmer (1920). States Rohmer was influenced by Renoir's films. “Renoir's films have influenced many other directors, including Éric Rohmer , [ 91 ]” (Wikipedia)
• Jean-Marie Straub (1933). States Straub was influenced by Renoir's films. “Jean-Marie Straub and Danièle Huillet , [ 92 ] Peter Bogdanovich , [ 93 ]” (Wikipedia)
• Danièle Huillet (1936). States Huillet was influenced by Renoir's films. “Jean-Marie Straub and Danièle Huillet , [ 92 ] Peter Bogdanovich , [ 93 ]” (Wikipedia)
• Peter Bogdanovich (1939). States Bogdanovich was influenced by Renoir's films. “Jean-Marie Straub and Danièle Huillet , [ 92 ] Peter Bogdanovich , [ 93 ]” (Wikipedia)
• Errol Morris (1948). States Errol Morris was influenced by Renoir's films. “Errol Morris [ 96 ] Martin Scorsese [ 97 ] and Mike Leigh . [ 98 ]” (Wikipedia)
• Mike Leigh (1943). States Mike Leigh was influenced by Renoir's films. “Errol Morris [ 96 ] Martin Scorsese [ 97 ] and Mike Leigh . [ 98 ]” (Wikipedia)
• Luchino Visconti. Visconti worked as a crew member for Renoir before becoming an acclaimed director himself. “Several of Renoir's crew members, including Satyajit Ray , [ 99 ] Luchino Visconti , [ 100 ] Robert Aldrich [ 101 ] and Jacques Becker , [ 102 ]” (Wikipedia)
• Robert Aldrich (1488). Aldrich worked as a crew member for Renoir before becoming an acclaimed director himself. “Several of Renoir's crew members, including Satyajit Ray , [ 99 ] Luchino Visconti , [ 100 ] Robert Aldrich [ 101 ] and Jacques Becker , [ 102 ]” (Wikipedia)
• Citizen Kane by Orson Welles (1941). Welles studied films by Jean Renoir among others while preparing to direct. “King Vidor [ 43 ] : 1172 : 1171 and Jean Renoir .” (Wikipedia)
• The 400 Blows by François Truffaut (1959). Thomson connects the film’s style to Renoir. “Thomson writes that The 400 Blows "securely tied the new films to Renoir , Vigo , and the French tradition of location shooting, flowing camera, and offhand lyricism."” (Wikipedia)
• Les Films du Carrosse. Truffaut named his company after Renoir’s film. (via The Golden Coach) “Truffaut named his production company "Les Films du Carrosse" after Renoir's The Golden Coach (La Carrosse d'Or).” (Wikipedia)
• Jean-Luc Godard (1930). The Rules of the Game (Jean Renoir) — titan for Jean-Luc Godard (via The Rules of the Game) (themoviedb.org)
• Cameron Crowe (1957). The Grand Illusion (Jean Renoir) — ghost for Cameron Crowe (via The Grand Illusion)