363:, and becomes visibly affected; when Nénette emerges from the water and joins him, Gaspard's flute is heard playing again, and the two run off into the high reeds together. After returning, they see the cousins and servants leaving in cars. They choose to not approach them, and instead rejoin the campers, who offer to let them stay the night in their camp. The next morning, Étienne says he wants to escape from the world for a while, so he and Nénette go to stay at Nénette's father Nino's house. Étienne begins to reconsider the relationship between humans and the natural world. The cousins eventually discover his whereabouts and arrive at the house, where they convince Nénette to leave. Realizing she is gone, Étienne becomes agitated and goes to look for her, running into Gaspard, the goatherd, who recommends that he kneel before his goat and ask for help. After doing so, Étienne turns ecstatic and shouts "Down with science!" before being forcibly restrained by his cousins.
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524:, and thereby seeks to justify the celebration of a material world imbued with spirit. When Étienne converses with a Christian priest, the two are shown to have disagreements, but to simultaneously understand each other well; this is because both still belong to the idealist side in the film's conflict. According to Douchet, the film sets up a scenario where harmonious equilibrium is achieved when science abandons idealism and submits to a materialist view of nature. This happens when Étienne marries Nénette, who is pregnant with their naturally conceived child.
352:, the goddess who the ancient Romans believed presided over childbirth. Nearby is also a group of young campers. Nénette is worried when she spots the goatherd Gaspard; she knows that when he plays his flute, strange things tend to happen. Gaspard plays and suddenly a strong wind blows away the picnic chairs and tables. As everybody takes cover, Étienne and Nénette are separated from the rest.
602:, which made him reminisce about his early life. According to MĂ©rigeau, the film sees Renoir return to the perspective he had as a young boy and adolescent, from where he confronts the troubling questions of the contemporary world. Renoir's reconnection to his younger self is paralleled in the mode of storytelling, which is reminiscent of the
765:. She had accompanied her husband Georges Rouveyre, whose friend Claude Beylie, a film critic, introduced her to Renoir. A few weeks earlier, she had enrolled at the drama school Centre d'art dramatique de la rue Blanche, and that same winter, Renoir contacted her for a reading and an informal screen test. Later, when the casting process for
30:
366:Étienne goes back to his old life, but on the day of his wedding he discovers Nénette, happily pregnant with his child, working in a hotel kitchen. He abruptly brings her instead of Marie-Charlotte to the waiting crowd. He will launch his presidential campaign with a speech about science and nature, and he intends to marry Nénette.
707:(1951). During the 1950s, he developed a more detached and depoliticized approach to filmmaking than before. Simultaneously, he became a more prominent celebrity in France due to television appearances and an increased appreciation for his films from the 1930s. His work became more oriented toward personal subjects.
846:
the elder had bought in 1907, and which had been the home of Jean Renoir for a part of his childhood and adolescence. Renoir the elder had spent significant time in the town La Gaude where a part of the film was shot, and several of his paintings feature the nearby river Le Coup, which also appears in the film.
1163:
had 757,024 admissions in France, and was a commercial failure. Renoir addressed this in a letter to the producer
Ginette Doynel a few weeks after the Paris premiere. He wrote that the failure had given him a distaste for film and television work in general; from now on, he would instead focus on his
1120:
called it an "extraordinary pamphlet" portraying "the peddlers of progress" who "only care about security, asepticity and uniformity". Arbona called the satire "abundant and exhilirating" and the film "brilliantly prophetic", because by the time of his writing, Arbona wrote, "these progress-obsessed,
343:
Nénette, a farmer's daughter, is disappointed with men after a failed relationship, but still wants children and applies to be a test subject for Étienne's insemination project. She ends up hired as his chambermaid and accompanies the picnic with the other servants. Present at the picnic are several
804:
Renoir rehearsed with the actors for a week before adding technicians to the rehearsals. After this, the director, designer, camera operator and assistant scouted the filming locations. The rehearsals then resumed, with markers chalked on the floor of the rehearsal room corresponding to the filming
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related the response to the left's own struggle to oppose the EEC without turning to patriotism. Durgnat wrote that it was "perhaps not too unkind to suggest that my left-wing colleagues were making their 'lost leader' a scapegoat for the very real difficulties of the left itself—or should one say
845:
painting, in particular that of Pierre-Auguste Renoir. This is reflected in the choices of filming locations; Jean Renoir called the film "something of a homage to the olive-trees under which my father worked so much". A major location was the property Les
Collettes in Cagnes-sur-Mer, which Renoir
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as a positive counterexample. Alpert called it "a nonsensically unconventional movie" where viewers "would be better off not trying to make sense or logic out of it, but simply allowing M. Renoir to have his day in the fields". Bachmann wrote that the film is reminiscent of Tati's films, both in
724:. Renoir wrote seven versions of the screenplay. He made the film through his own production company, Compagnie Jean Renoir; it was the last time he did so, as annoyances about logistics during the production made him decide to never produce his own films again. Financial backing was provided by
849:
Another stylistic choice came from the director's desire to follow impulses on location and encourage improvisation; Renoir said he wanted to make a "sort of filmed poem" written in one sitting. After the rehearsals, he gave very little instruction to the actors. He used a rapid working method
985:. For Rohmer, the satire against science should be understood through Renoir's role as an artist, not philosopher or moralist, and not as a rejection of practical science. As for politics, he defended the artist's right to look at the problems of the world without being politically engaged.
896:, who first collaborated with Renoir in 1936 and had provided music for several of his best known films. The score includes a melody the goatherd plays in high pitch on his flute during the wind scene, an upbeat piece played on clarinet in jazz style, and a melody played on flute with harp
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and still be able to make cuts within the scene. This method made it possible to record most of the dialogue directly, without problems of continuity due to surrounding sounds such as that from airplanes. Up to twelve microphones were present and only around 20 phrases had to be dubbed in
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in which he began his filmmaking career in the 1920s; MĂ©rigeau writes that the film thereby creates a paradox, since it was made using new techniques from television. Another parallel to Renoir's earlier experiences is how the portrayal of eroticism is similar to that of his 1936 film
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in 1957. In spite of the generally good reviews, the film was a commercial failure, and has attracted little attention from general audiences over the years. Some later critics have seen its critiques of technocracy and dogged rationalism as both prophetic and of increasing relevance.
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Rouvel signed an unusual contract which had the practical effect of giving Renoir the power to approve all her engagements for the next three years. Renoir decided to keep her away from the film industry and only accepted offers of theater roles. He rejected roles for her in
1146:, which shows science and the government triumphant in a crisis of natural origin. Brody made a point of separating art and politics: "Looking to filmmakers for practical advice in the teeth of trouble is usually as pointless as turning to politicians for visions of beauty."
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for its evident acceptance of a
European superstate, which was taken as an approval of the EEC, opposed by the left at the time. Furthermore, upsetting for the left, the reservations Étienne appears to have developed toward the end of the film were interpreted as support for
1345:
Satire foisonnante et jubilatoire, Le Déjeuner sur l'herbe est génialement prophétique. Quarante-cinq ans après, ces enragés du progrès, ces apôtres d'une société publicitaire qui n'ont que le politiquement correct à la bouche, ont pris le pouvoir et mènent la
1103:
message and how the message is conveyed through colors. He contrasted the seeming simplicity with the serious content, and the impressionism with the surreal elements. He called it "almost facile in impact but lasting in the perturbations it causes".
777:, whom he had directed in a ballet. Renoir told Rouveyre in April 1959 that the role was hers; soon thereafter, he suggested that she should change her name to Rouvel. For the male lead, Renoir first considered
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Renoir réalise ici un extraordinaire pamphlet où il met en scène les camelots du progrès qui se contrefoutent du monde, de la nature et ne se soucient que de sécurisation, d'aseptisation et d'uniformisation.
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a positive reception, characterized by respect for Renoir. They highlighted the film's connection to impressionism and described it as charming. Rouvel's face was on the cover of the
December 1959 issue of
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and to ideas about social responsibility. NĂ©nette is comfortable with her human physicality, but is also driven by self-sufficiency in her wish to have her own child through artificial insemination. She is
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considered the film flawed on a technical level, and criticized its lack of a clear choice between scientific progress and the rejection of it. He dismissed the philosophical content, which he took as a
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and mobile, and it is her actions that twice bring her to Étienne. Another—militaristic—type of women's emancipation is represented by Marie-Charlotte. Allied against
Western rationalism are the gods
303:
The press reviews were generally positive and described the film as charming and beautiful. Negative response came from the political left, where critics disapproved of the film's treatment of
348:. They have invited journalists to document the picnic event, which they want to present as a symbol for the new unified Europe. The picnic takes place next to the ruins of a temple of
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overall. The way Étienne speaks to journalists, with technical and obscure terminology, envisions a future political elite as the only people who will comprehend the
European project.
2617:
939:. The DVD, which was re-released in 2008, includes a 30-minute documentary directed by Pierre-François Glaymann. The film was released on DVD in the United Kingdom in 2007 by
280:
was the first major role for Rouvel, who due to an unusual contract would not appear in another film until 1963. Filming took place around Renoir's childhood home in
1152:
called it "one of Renoir's most ravishing, and simultaneously most irritating films", because the "sumptuous photography" repeatedly "collapses into cold argument".
2709:
979:'", which Renoir had influenced profoundly. With its detached and intentionally naive style, Rohmer described it as "avant-garde popular theater" in the vein of
3142:
821:
The old farmhouse at Les
Collettes was a filming location. The property was acquired by the city of Cagnes-sur-Mer in 1959 and turned into the Musée Renoir.
520:. The film ridicules the idealist notion of progress and celebrates the Dionysian world. It portrays an empty spirituality produced by a bureaucratic
1267:
527:Étienne is an intellectual who lives in a theoretical world. This makes him similar to the main characters in two earlier works by Renoir: the play
355:
When the wind subsides, the two are invited to sit down with the campers, to whom Étienne explains how he hopes to eliminate passion. Meanwhile, a
336:
and make it worthy of modern science. He is newly engaged to his German cousin Marie-Charlotte and has invited her to a picnic near his mansion in
878:. They included the cinematographer Georges Leclerc and the editor Renée Lichtig, both of whom would work with Renoir again on his next film,
866:
to cover all useful angles and shots. In addition to saving time and money, the aim was to retain the uninterrupted, intensive acting of a
3239:
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Pour l'équipe des « Cahiers » et le
Conseil des Dix, le film de Jean Renoir est le plus beau d'un mois riche en chefs-d'Ĺ“uvre.
1114:
has received little attention from general audiences over time, but it has been embraced by individual critics. In 2006, Luc Arbona of
228:. A satire on contemporary science and politics, it revolves around a prominent biologist and politician who wants to replace sex with
2282:
912:
theatrically in France on 11 November 1959. In the United
Kingdom it was released by Mondial Films in April 1960 under the title
359:
breaks out among the picnic guests not far away. Leaving the campers to look for Marie-Charlotte, Étienne ends up seeing Nénette
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these ad-agency apostles who have nothing but the politically correct to say, have seized power and are leading the dance."
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232:, but begins to reconsider when a picnic he organizes is interrupted by the forces of nature. The film brings up issues of
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wrote that the film should be taken seriously, but describes its story as an invitation to not do so. Renoir satirizes a
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sympathies. It was released at a time when the PCF idealized progress and its members were enthusiastic about the
324:
The famous French biologist Étienne Alexis is the frontrunner in the upcoming election for the first
President of
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858:, which he called an "experimental film". He also took advantage of the cinematographer's experience from making
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by including a passage which plays on a television screen. The film scholar Nancy Pogel argues in her book on
762:
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he does not think highly of, and uses story and tone to suggest to the viewer that it is not very important.
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in the 1940s, Renoir had re-established himself in European cinema following the international success of
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writes that the film "deals with disturbingly serious subjects using a farcical tone". The film historian
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2967:
698:
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312:
2381:. Translated by Halsey II, W. W.; Simon, William H. London and New York: W. H. Allen. pp. 294–300.
971:, and the magazine called the film "the most beautiful of a month rich in masterpieces". The review by
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cousins of the engaged couple—stiff, rationally minded people who profess belief in scientific
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with a number of French comedies that deal with a "modernist invasion". These include the films of
517:
488:
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2620:[Cagnes-sur-Mer: in the middle of olive trees, the Renoir museum has reopened its doors].
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a "silly treatment", because they did not understand it through its director as a person. He used
884:, which became his final feature film, although the multiple-camera technique was abandoned after
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1847:
457:
444:
329:
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in 2012. Taking its message as a rejection of modern technology, he compared it favorably to
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311:; the subject of European unification was topical and sensitive due to the creation of the
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formally began, she was not the only candidate for the role of Nénétte; Renoir auditioned
8:
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Quelle Europe voulons-nous ? En supplément: une sélection d'articles et d'entretiens
1148:
586:
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558:
499:
407:
325:
256:
943:, as part of a box set with other Renoir films. The DVD uses the original French title,
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is understood as something that particularly concerns France and Germany, or France and
3148:
3047:
2983:
2959:
2903:
2580:. Translated by Benderson, Bruce. Burbank, California: Ratpac Press and Running Press.
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2286:
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received a similar treatment from communist critics. Left-wing critics also criticized
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Nationalism and the Cinema in France: Political Mythologies and Film Events, 1945–1995
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676:. The film's depiction of a French and German elite couple follows a convention where
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and Diana. Pan is evoked through the flute-playing goatherd, and Diana presides over
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2618:"Cagnes-sur-Mer : au milieu des oliviers, le musée Renoir a rouvert ses portes"
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757:. Renoir had met her in 1958, shortly after her 19th birthday, during a tribute to
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later had a significant theatrical run in the United States, which delighted him.
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locations' topography. Working with markers was something Renoir abandoned after
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was filmed. He had recently begun to write a book about his father, the painter
3163:
2338:"Les dix meilleurs films de l'année" [The ten best films of the year].
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222:. It is known in the United Kingdom by its original title or in translation as
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Filming took place from 6 to 30 July 1959 at Studio Francœur in Paris, and in
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and the two were good friends. In the role of the goatherd Gaspard he cast
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What Europe do we want? Supplement: a selection of articles and interviews
2699:(December 1959). "Jeunesse de Jean Renoir" [Jean Renoir's youth].
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stressed the technical novelty of the film, released in "the year of the '
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Renoir had spent years of his childhood and adolescence in the area where
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2373:(1974). "Le Dejeuner sur l'Herbe (1959) (Picnic on the Grass, 1960)". In
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2720:] (in French). Paris: Semaines sociales de France. pp. 45–57.
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781:, a man in his mid 60s, before giving the role to the 20-years-younger
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657:. Renoir's film stands out in the group because it targets the nascent
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308:
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2639:
Phillips, Alastair; Vincendeau, Ginette, eds. (2013). "Filmography".
2598:
Reconstructing Woody: Art, Love, and Life in the Films of Woody Allen
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484:
477:
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2681:. Translated by Volk, Carol. Cambridge: Cambridge University Press.
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and the UCIF, to whom Renoir also offered 50% of his earnings from
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revolve around modern issues such as artificial insemination, the
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753:—who was married to Georges Rouveyre—had her first major role in
2258:
1805:
785:; Renoir had previously worked with Meurisse in a production of
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the same day, and also considered giving the part to the dancer
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1258:
2806:
2548:"Renoir and the French Communist Party: The Grand Disillusion"
2489:
Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave
854:, a technique he had first used in his recent television film
1811:
2403:. Berkeley and Los Angeles: University of California Press.
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537:(1959). Étienne's eugenic ideology combines rationalism and
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For the French home-media market, it was first released on
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2743:. Jackson, Mississippi: University Press of Mississippi.
2002:
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1074:("Europe of fatherlands"). In the 1970s, the film critic
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2662:. Translated by Denny, Norman. New York: Da Capo Press.
1959:
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1442:
1440:
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1784:
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1619:
1607:
1590:
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206:) is a 1959 French comedy film written and directed by
2737:"Jean Renoir on Love, Hollywood, Authors, and Critics"
2491:. Cambridge, Massachusetts: Harvard University Press.
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1995:
1983:
1907:
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Portrait of Jean Renoir by Pierre-Auguste Renoir, 1910
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3143:
Louis Lumière / conversation avec Langlois et Renoir
2208:
Bachmann, Gideon (1960). "Le DĂ©jeuner sur l'Herbe".
2087:
2012:
1943:
1895:
1883:
1871:
1859:
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621:"could only have been made by someone of 6 or 60".
404:
Jacqueline Morane as Titine, NĂ©nette's elder sister
2638:
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2036:
1823:
1372:
1368:
1306:... l'année de la « nouvelle vague » ...
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2679:Renoir on Renoir: Interviews, Essays, and Remarks
2238:
2051:
1817:
1684:
1268:Reproduction and pregnancy in speculative fiction
955:
795:, who had played the title role in Renoir's film
668:was conceived as the logical continuation of the
3191:
2420:Jean Renoir, a guide to references and resources
2075:
2063:
1013:critics who named it to year-end top ten lists.
2601:. Lanham, Maryland: Rowman & Littlefield.
2512:. Lanham, Maryland: Rowman & Littlefield.
812:
2822:
2643:. Oxford: Wiley-Blackwell. pp. 572–584.
2558:. Oxford: Wiley-Blackwell. pp. 328–346.
1343:
1330:
1317:
1304:
1291:
1168:, his plays, and his book about his father.
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1032:received negative reviews from critics with
993:s composite list of the best films of 1959.
578:context are aspects of female independence.
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2829:
2815:
916:. It was released in the United States as
874:Several key crew members were reused from
292:. The filming technique was influenced by
29:
2174:(15 October 1960). "Panic on the Grass".
2154:(in French). Tiger Global. Archived from
1132:wrote about the film in conjunction with
483:The central conflict is built on several
2572:
2535:: should the experience be tried?].
2531:: fallait-il tenter l'expérience?" [
2417:
2327:"Notre couverture" [Our cover].
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2006:
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2483:Hillier, Jim, ed. (1985). "Appendix 1:
2482:
2468:. New York and Oxford: Berghahn Books.
2395:
2369:
2129:
1989:
1977:
1949:
1913:
1841:
1778:
1766:
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1666:
1645:
1584:
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1509:
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1319:... théâtre populaire d'avant-garde ...
624:
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2018:
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1829:
1754:
1742:
1730:
1678:
1278:
2810:
2734:
2615:
2545:
2527:Lachize, Samuel (14 November 1959). "
2301:
2241:"Le déjeuner sur l'herbe : film"
2093:
2057:
1965:
1953:
1937:
1690:
266:The title is taken from the painting
2757:
2461:
2260:British Board of Film Classification
2146:
2081:
2069:
1806:British Board of Film Classification
1560:
1548:
1191:. Rouvel returned to film acting in
738:guarantee, to a limit of 10 million
557:become tied to Étienne's notions of
2708:Rivière, Marie-Sylvie, ed. (2018).
2487:Annual Best Film Listings 1955–9".
960:French film critics generally gave
13:
3240:Films based on classical mythology
2616:Oddos, Valérie (6 December 2016).
2509:The Encyclopedia of Film Composers
1166:University of California, Berkeley
841:borrows visual traits from French
425:as Mlle Forestier, the telephonist
14:
3276:
3119:The Little Theatre of Jean Renoir
2778:
2342:(in French) (104). February 1960.
2333:(in French) (102). December 1959.
2307:"Watching Sandy with Jean Renoir"
1243:The Farm at Les Collettes, Cagnes
864:six cameras placed around a scene
745:
413:Ingrid Nordine as Marie-Charlotte
3095:The Doctor's Horrible Experiment
2442:"Other DVDs: Jean Renoir Boxset"
2245:Bibliothèque nationale de France
1926:Cahiers du cinéma, February 1960
1854:Cahiers du cinéma, December 1959
1088:that many American critics gave
1057:The Doctor's Horrible Experiment
876:The Doctor's Horrible Experiment
856:The Doctor's Horrible Experiment
534:The Doctor's Horrible Experiment
284:, and inspiration came from the
2836:
1337:
1324:
1311:
1298:
1285:
1107:Retrospective critical response
922:Kingsley-International Pictures
661:rather than the United States.
629:The historian Hugo Frey groups
545:an active role in concord with
531:(1955) and the television film
3164:Aline Charigot Renoir (mother)
3159:Pierre-Auguste Renoir (father)
2418:Faulkner, Christopher (1979).
2185:Arbona, Luc (17 August 2006).
1369:Phillips & Vincendeau 2013
1225:A Midsummer Night's Sex Comedy
956:Contemporary critical response
692:
672:(EEC), created in 1957 by the
574:and childbirth, which in this
448:by Pierre-Auguste Renoir, 1867
1:
3210:Films directed by Jean Renoir
1273:
1155:
931:in 1990 by Fil Ă film and on
687:
3260:Films scored by Joseph Kosma
3230:French romantic comedy films
1856:, inside of the front cover.
1201:, released in January 1963.
982:Mr Puntila and his Man Matti
950:
518:philosophy of ancient Greece
419:as Gaspard, the old goatherd
307:and depiction of a European
300:and direct audio recording.
7:
3205:1950s French-language films
2968:The Crime of Monsieur Lange
2739:. In Cardullo, Bert (ed.).
2506:Hischak, Thomas S. (2015).
1235:
813:Filming and post-production
714:is taken from the painting
670:European Economic Community
389:as Professor Étienne Alexis
313:European Economic Community
10:
3281:
3215:1959 romantic comedy films
3040:The Diary of a Chambermaid
2641:A Companion to Jean Renoir
2556:A Companion to Jean Renoir
2379:Jean Renoir by André Bazin
2139:
903:
900:during a lyrical passage.
410:as Ritou, Titine's husband
376:A Companion to Jean Renoir
151:11 November 1959
3149:Catherine Hessling (wife)
3129:
2928:Boudu Saved from Drowning
2895:
2844:
2763:"Le DĂ©jeuner sur l'Herbe"
2595:Nichols, Mary P. (2000).
2550:. In Phillips, Alastair;
2352:"Le DĂ©jeuner sur l'herbe"
2283:"Le DĂ©jeuner sur l'herbe"
2187:"le déjeuner sur l'herbe"
2152:"Le DĂ©jeuner sur l'herbe"
1175:
1164:teaching position at the
1082:Gideon Bachmann wrote in
1024:Renoir had supported the
888:. The original music for
664:The vision of a European
429:
401:as Nino, NĂ©nette's father
328:. He advocates mandatory
288:paintings of his father,
251:and celebrates a type of
183:
175:
165:
142:
132:
118:
108:
100:
92:
66:
58:
50:
40:
28:
23:
3255:Criticism of rationalism
2735:Silke, James R. (2005).
2712:[Taste Europe].
2578:Jean Renoir: A Biography
1355:
1249:France–Germany relations
1028:(PCF) in the 1930s, but
682:Germanic-speaking Europe
489:Apollonian and Dionysian
261:ancient Greek philosophy
16:1959 film by Jean Renoir
3225:Artificial insemination
3169:Pierre Renoir (brother)
2920:Night at the Crossroads
2741:Jean Renoir: Interviews
2703:(in French) (102): 1–7.
2546:Marie, Laurent (2013).
2529:Le DĂ©jeuner sur l'herbe
2239:BnF Catalogue général.
1952:, p. 2, quoted in
1940:, pp. 328 and 340.
1079:the lefts themselves?"
945:Le DĂ©jeuner Sur L'Herbe
717:Le DĂ©jeuner sur l'herbe
458:pharmaceutical industry
369:
330:artificial insemination
319:
269:Le DĂ©jeuner sur l'herbe
230:artificial insemination
204:Le DĂ©jeuner sur l'herbe
3235:French satirical films
3055:The Woman on the Beach
2422:. Boston: G. K. Hall.
2356:Cinémathèque Française
2279:British Film Institute
1373:British Film Institute
1344:
1331:
1318:
1305:
1292:
1254:Pan in popular culture
1228:(1982) is indebted to
1070:
1026:French Communist Party
1021:
920:on 12 October 1960 by
822:
763:Cinémathèque Française
591:
576:classical mythological
449:
380:British Film Institute
203:
3220:1950s satirical films
3008:The Rules of the Game
2877:The Little Match Girl
2853:The Whirlpool of Fate
2677:Renoir, Jean (1989).
2658:Renoir, Jean (1974).
1818:BnF Catalogue général
1019:
820:
600:Pierre-Auguste Renoir
589:
442:
290:Pierre-Auguste Renoir
276:. The female lead in
127:Compagnie Jean Renoir
3245:Films about eugenics
3111:The Elusive Corporal
2660:My Life and My Films
2264:"Lunch on the Grass"
1210:(1965), directed by
1051:message about going
1040:. Samuel Lachize of
1038:Soviet space program
881:The Elusive Corporal
678:European integration
653:(1974), directed by
643:(1968), directed by
625:European integration
582:Youth and experience
541:in a way that gives
500:Mediterranean region
435:Modernity and nature
242:European integration
3250:Films shot in Paris
3103:Picnic on the Grass
2936:Chotard and Company
2797:Picnic on the Grass
2786:Picnic on the Grass
2552:Vincendeau, Ginette
2533:Picnic on the Grass
2462:Frey, Hugo (2014).
2305:(29 October 2012).
2108:, pp. 699–700.
1980:, pp. 350–352.
1968:, pp. 339–340.
1956:, pp. 338–339)
1745:, pp. 276–277.
1681:, pp. 185–186.
1587:, pp. 328–329.
1563:, pp. 119–120.
1497:, pp. 349–350.
1473:, pp. 299–300.
1434:, pp. 298–299.
1422:, pp. 700–701.
1279:Original quotations
1230:Picnic on the Grass
1216:Picnic on the Grass
1170:Picnic on the Grass
1161:Picnic on the Grass
1112:Picnic on the Grass
1090:Picnic on the Grass
1061:Picnic on the Grass
1030:Picnic on the Grass
1020:Jean Renoir in 1959
989:made 13th place on
987:Picnic on the Grass
962:Picnic on the Grass
918:Picnic on the Grass
910:Picnic on the Grass
890:Picnic on the Grass
886:Picnic on the Grass
839:Picnic on the Grass
807:Picnic on the Grass
767:Picnic on the Grass
755:Picnic on the Grass
712:Picnic on the Grass
631:Picnic on the Grass
619:Picnic on the Grass
596:Picnic on the Grass
498:and underdeveloped
454:Picnic on the Grass
408:Jean-Pierre Granval
278:Picnic on the Grass
257:classical mythology
255:it associates with
195:Picnic on the Grass
24:Picnic on the Grass
3265:1950s French films
3154:Alain Renoir (son)
3048:Partie de campagne
2984:La Grande Illusion
2960:Life Belongs to Us
2375:Truffaut, François
2289:on August 11, 2016
2192:Les Inrockuptibles
2158:on 8 December 2015
1214:, pays tribute to
1117:Les Inrockuptibles
1071:Europe des patries
1022:
995:Pierre Braunberger
991:Cahiers du cinéma'
914:Lunch on the Grass
823:
759:Robert J. Flaherty
731:La Grande Illusion
610:Partie de campagne
592:
551:Human reproduction
450:
374:Cast adapted from
238:human reproduction
225:Lunch on the Grass
3187:
3186:
3179:Marguerite Renoir
3087:Elena and Her Men
3024:This Land Is Mine
2710:"Goûter l'Europe"
2701:Cahiers du cinéma
2650:978-1-4443-3853-9
2587:978-0-7624-5596-6
2565:978-1-4443-3853-9
2519:978-1-4422-4549-5
2485:Cahiers du Cinéma
2475:978-1-78238-365-9
2340:Cahiers du cinéma
2330:Cahiers du cinéma
1575:, pp. 49–50.
1138:Steven Soderbergh
1066:Charles de Gaulle
1007:François Truffaut
968:Cahiers du cinéma
941:Optimum Releasing
937:StudioCanal vidéo
871:post-production.
775:Ludmilla Tchérina
697:After working in
191:
190:
3272:
3174:Gabrielle Renard
3071:The Golden Coach
2976:The Lower Depths
2831:
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2591:
2574:MĂ©rigeau, Pascal
2569:
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2523:
2502:
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2458:
2456:
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2433:
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2397:Durgnat, Raymond
2392:
2366:
2364:
2362:
2343:
2334:
2323:
2321:
2319:
2298:
2296:
2294:
2285:. Archived from
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1328:
1322:
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1315:
1309:
1308:
1302:
1296:
1295:
1289:
1073:
892:was composed by
793:Charles Blavette
751:Catherine Rouvel
613:. The filmmaker
559:self-sufficiency
511:Postchristianity
417:Charles Blavette
393:Catherine Rouvel
334:improve humanity
298:multiple cameras
220:Catherine Rouvel
158:
156:
84:Catherine Rouvel
33:
21:
20:
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3275:
3274:
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3125:
3000:La BĂŞte Humaine
2992:La Marseillaise
2891:
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2499:
2476:
2452:
2450:
2440:(8 July 2007).
2430:
2411:
2389:
2360:
2358:
2348:Ciné-Ressources
2317:
2315:
2292:
2290:
2268:
2266:
2249:
2247:
2224:10.2307/1210350
2198:
2196:
2177:Saturday Review
2161:
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2025:
2017:
2013:
2005:
1996:
1988:
1984:
1976:
1972:
1964:
1960:
1948:
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1936:
1932:
1928:, pp. 1–2.
1924:
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1725:
1717:, p. 347;
1713:
1709:
1703:Ciné-Ressources
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1394:
1379:
1371:, p. 583;
1367:
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1316:
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1299:
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1286:
1281:
1276:
1238:
1178:
1158:
1134:Hurricane Sandy
1109:
1099:Saturday Review
1076:Raymond Durgnat
1009:were among the
1003:Jacques Rivette
999:Jean-Luc Godard
958:
953:
908:Pathé released
906:
852:live television
835:Alpes-Maritimes
815:
779:Pierre Blanchar
771:Michèle Mercier
748:
695:
690:
655:Pierre Tchernia
627:
584:
496:Northern Europe
470:Pascal MĂ©rigeau
437:
432:
423:Paulette Dubost
372:
322:
294:live television
244:. It ridicules
168:
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154:
152:
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128:
123:
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96:Georges Leclerc
88:
36:
17:
12:
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3032:The Southerner
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2780:
2779:External links
2777:
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2324:
2312:The New Yorker
2303:Brody, Richard
2299:
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2211:Film Quarterly
2205:
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2172:Alpert, Hollis
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2141:
2138:
2135:
2134:
2122:
2120:, p. 734.
2110:
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1992:, p. 352.
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1193:Claude Chabrol
1187:and a film by
1184:The Green Mare
1177:
1174:
1157:
1154:
1124:The New Yorker
1108:
1105:
1085:Film Quarterly
1053:back to nature
957:
954:
952:
949:
905:
902:
862:footage, with
850:influenced by
827:Cagnes-sur-Mer
814:
811:
747:
746:Pre-production
744:
694:
691:
689:
686:
674:Treaty of Rome
659:European Union
626:
623:
615:Shirley Clarke
583:
580:
522:utilitarianism
487:: between the
468:'s biographer
452:The themes of
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399:Fernand Sardou
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62:Ginette Doynel
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2132:, p. 95.
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2118:MĂ©rigeau 2017
2114:
2107:
2106:MĂ©rigeau 2017
2102:
2095:
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2066:
2059:
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2047:
2042:
2040:
2033:, p. 41.
2032:
2031:Bachmann 1960
2027:
2021:, p. 34.
2020:
2015:
2009:, p. 40.
2008:
2007:Bachmann 1960
2003:
2001:
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1991:
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1602:MĂ©rigeau 2017
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840:
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828:
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788:Julius Caesar
784:
783:Paul Meurisse
780:
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764:
760:
756:
752:
743:
741:
737:
736:reimbursement
733:
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723:
722:Édouard Manet
719:
718:
713:
710:The title of
708:
706:
705:
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685:
683:
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675:
671:
667:
662:
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651:
646:
645:William Klein
642:
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604:silent cinema
601:
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547:individualism
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387:Paul Meurisse
385:
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367:
364:
362:
361:swimming nude
358:
353:
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341:
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317:
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296:and involved
295:
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283:
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274:Édouard Manet
271:
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104:Renée Lichtig
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72:
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39:
32:
27:
22:
19:
3141:
3137:Bibliography
3117:
3109:
3102:
3101:
3093:
3085:
3077:
3069:
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3053:
3038:
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2918:
2910:
2902:
2883:
2875:
2867:
2859:
2851:
2845:Silent films
2796:
2785:
2766:. Retrieved
2740:
2717:
2713:
2700:
2697:Rohmer, Éric
2678:
2659:
2640:
2628:. Retrieved
2621:
2597:
2577:
2555:
2541:(in French).
2536:
2532:
2528:
2508:
2488:
2484:
2464:
2451:. Retrieved
2447:The Observer
2445:
2419:
2400:
2378:
2359:. Retrieved
2339:
2328:
2316:. Retrieved
2310:
2291:. Retrieved
2287:the original
2267:. Retrieved
2248:. Retrieved
2218:(2): 40–41.
2215:
2209:
2197:. Retrieved
2190:
2175:
2160:. Retrieved
2156:the original
2130:Nichols 2000
2125:
2113:
2101:
2089:
2077:
2065:
2053:
2026:
2014:
1990:Durgnat 1974
1985:
1978:Durgnat 1974
1973:
1961:
1950:Lachize 1959
1945:
1933:
1921:
1914:Hillier 1985
1909:
1904:, p. 7.
1897:
1892:, p. 6.
1885:
1880:, p. 4.
1873:
1868:, p. 2.
1861:
1849:
1842:Durgnat 1974
1837:
1825:
1813:
1801:
1779:Hischak 2015
1774:
1767:Hischak 2015
1762:
1750:
1738:
1726:
1715:Durgnat 1974
1710:
1698:
1686:
1674:
1667:Durgnat 1974
1646:Durgnat 1974
1609:
1585:Durgnat 1974
1580:
1573:Rivière 2018
1568:
1556:
1544:
1537:Durgnat 1974
1532:
1510:Durgnat 1974
1495:Durgnat 1974
1490:
1483:Durgnat 1974
1478:
1471:Douchet 1974
1466:
1459:Durgnat 1974
1454:
1447:Douchet 1974
1432:Douchet 1974
1427:
1415:
1408:Douchet 1974
1403:
1364:
1339:
1326:
1313:
1300:
1287:
1241:
1229:
1223:
1215:
1205:
1203:
1196:
1182:
1179:
1169:
1160:
1159:
1147:
1141:
1122:
1115:
1111:
1110:
1097:
1089:
1083:
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1060:
1056:
1041:
1029:
1023:
1010:
990:
986:
980:
966:
961:
959:
944:
926:
917:
913:
909:
907:
894:Joseph Kosma
889:
885:
879:
875:
873:
855:
848:
838:
824:
806:
803:
796:
786:
766:
754:
749:
734:(1937) as a
729:
715:
711:
709:
702:
696:
663:
648:
638:
635:Jacques Tati
630:
628:
618:
608:
595:
593:
532:
528:
526:
493:technocratic
482:
474:Jean Douchet
453:
451:
443:
375:
373:
365:
354:
342:
332:in order to
323:
302:
277:
267:
265:
240:, youth and
224:
223:
194:
193:
192:
167:Running time
144:Release date
113:Joseph Kosma
18:
3016:Swamp Water
2896:Sound films
2838:Jean Renoir
2626:(in French)
2623:France Info
2401:Jean Renoir
2361:26 February
2195:(in French)
2046:Arbona 2006
2019:Alpert 1960
1954:Marie (2013
1902:Rohmer 1959
1890:Rohmer 1959
1878:Rohmer 1959
1866:Rohmer 1959
1830:French 2007
1755:Renoir 1974
1743:Renoir 1974
1731:Renoir 1974
1679:Renoir 1989
1220:Woody Allen
1212:Agnès Varda
1189:GĂ©rard Oury
973:Éric Rohmer
935:in 2003 by
693:Development
640:Mr. Freedom
564:emancipated
515:materialist
504:rationalist
485:dichotomies
466:Jean Renoir
357:Bacchanalia
253:materialism
246:rationalist
210:, starring
208:Jean Renoir
59:Produced by
54:Jean Renoir
45:Jean Renoir
41:Directed by
35:Film poster
3200:1959 films
3194:Categories
2912:La Chienne
2538:L'Humanité
2094:Silke 2005
2058:Brody 2012
1966:Marie 2013
1938:Marie 2013
1691:Oddos 2016
1274:References
1207:Le Bonheur
1156:Box office
1043:L'Humanité
898:glissandos
720:(1863) by
688:Production
666:superstate
617:said that
502:, and the
462:mass media
395:as NĂ©nette
309:superstate
171:92 minutes
155:1959-11-11
120:Production
51:Written by
3063:The River
2869:Marquitta
2576:(2017) .
1561:Frey 2014
1549:Frey 2014
1204:The film
1198:Bluebeard
1143:Contagion
1034:communist
951:Reception
868:long take
704:The River
699:Hollywood
650:The Holes
555:evolution
543:Darwinism
478:modernity
234:modernity
101:Edited by
3050:" (1946)
2802:AllMovie
2759:Time Out
2630:20 March
2554:(eds.).
2453:29 March
2399:(1974).
2293:18 March
2269:17 March
2250:17 March
2162:17 March
2148:AlloCiné
2082:AlloCiné
2070:Time Out
1236:See also
1149:Time Out
977:New Wave
860:newsreel
831:La Gaude
801:(1935).
572:chastity
539:moralism
507:idealism
460:and the
378:and the
346:progress
338:Provence
305:progress
282:Provence
249:idealism
184:Language
109:Music by
67:Starring
3130:Related
2885:Le Bled
2768:2 March
2377:(ed.).
2318:2 March
2232:1210350
2199:2 March
2140:Sources
1096:of the
1047:pseudo-
1011:Cahiers
904:Release
761:at the
176:Country
153: (
122:company
3122:(1970)
3114:(1962)
3106:(1959)
3098:(1959)
3090:(1956)
3082:(1955)
3074:(1952)
3066:(1951)
3058:(1947)
3043:(1946)
3035:(1945)
3027:(1943)
3019:(1941)
3011:(1939)
3003:(1938)
2995:(1938)
2987:(1937)
2979:(1936)
2971:(1936)
2963:(1936)
2955:(1935)
2947:(1934)
2939:(1933)
2931:(1932)
2923:(1932)
2915:(1931)
2907:(1931)
2888:(1929)
2880:(1928)
2872:(1927)
2864:(1926)
2856:(1925)
2747:
2724:
2685:
2666:
2647:
2605:
2584:
2562:
2516:
2495:
2472:
2426:
2407:
2385:
2230:
1346:danse.
1263:techne
1259:Physis
1176:Legacy
740:francs
647:, and
491:, the
430:Themes
326:Europe
200:French
187:French
179:France
2716:[
2228:JSTOR
1356:Notes
726:Pathé
529:Orvet
445:Diana
350:Diana
137:Pathé
2952:Toni
2861:Nana
2791:IMDb
2770:2020
2745:ISBN
2722:ISBN
2683:ISBN
2664:ISBN
2645:ISBN
2632:2020
2603:ISBN
2582:ISBN
2560:ISBN
2514:ISBN
2493:ISBN
2470:ISBN
2455:2020
2424:ISBN
2405:ISBN
2383:ISBN
2363:2020
2320:2020
2295:2020
2271:2020
2252:2020
2201:2020
2164:2020
1261:and
829:and
798:Toni
553:and
513:and
370:Cast
320:Plot
259:and
218:and
2800:at
2789:at
2220:doi
1195:'s
1140:'s
1068:'s
933:DVD
929:VHS
833:in
568:Pan
509:of
272:by
3196::
2761:.
2444:.
2350:.
2309:.
2281:.
2262:.
2243:.
2226:.
2216:14
2214:.
2189:.
2150:.
2038:^
1997:^
1786:^
1653:^
1636:^
1621:^
1592:^
1517:^
1502:^
1439:^
1380:^
1232:.
1128:s
1055:.
1001:,
997:,
947:.
924:.
837:.
742:.
637:,
549:.
464:.
382:.
340:.
263:.
236:,
214:,
202::
3046:"
2830:e
2823:t
2816:v
2772:.
2753:.
2730:.
2691:.
2672:.
2653:.
2634:.
2611:.
2590:.
2568:.
2522:.
2501:.
2478:.
2457:.
2432:.
2413:.
2391:.
2365:.
2322:.
2297:.
2273:.
2254:.
2234:.
2222::
2203:.
2180:.
2166:.
2084:.
2072:.
2060:.
2048:.
1832:.
1820:.
1808:.
1705:.
1693:.
1375:.
1126:'
198:(
157:)
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