Close-Ups. Because Renoir rarely uses close-ups in the film, when he does use them, the viewer’s attention is immediately captured (Macdonald, 98). The most defined use of the close-up was during the scene with Maréchal and Elsa, when love is developing. Yet, again focusing on the larger picture that is not about individuals per se but interactions and relationships, this close-up is cut-short with Elsa’s laugh and we return to deep focus.
Length of shot. Rejecting the montage, Renoir uses long shots without any cutting. Cinematically, the purpose of the long take is to connect the actors to one another and locate them in the environment. This creates intimate relationships of collective groups. The longest single shot in the film is the tunnel digging scene, which is 117 seconds (O’Shaughnessy, 36-37).
The significance of Renoir’s length of shot is apparent when compared to other film makers of that time. In his two hour film, Renoir uses 352 shots excluding credits and end titles, compared to Duvivier’s Pepe le Molco, which was said to have long takes but had 452 shots in only one hour and 40 minutes (Macdonald, 26). Of course, when Renoir does increase the cuts, it is done deliberately for emotional and narrative impact.
The most clear use of increased cuts was during the escape scene, when the audience was on edge and anxious as to the success of the effort and what would happen to de Boëldieu. An excellent break down of each shot in Renoir’s film can be found in Nicholas Macdonald’s 1972 book, In Search of La Grande Illusion: A Critical Appreciation of Jean Renoir’s Elusive Masterpiece (233-242).
Camera mobility: Throughout the film there is rich rhythm and tone by Renoir ‘s variation of the lengths and compositions of each scene. This ebb and flow is also made possible through the effective use of panning, tracking camera, shot-reverse, and tilting shots. Another interesting camera technique that Renoir uses is to introduce each new scene by focusing close-up on an object or person and then back-tracking so can put in context of relationships and interactions going on in scene. By combining this camera fluidity with composition and carefully choreographed acting, Renoir brings forth the inner feelings and emotions of the characters.
Editing: While Renoir influenced French New Wave, you will not find many jump cuts in Renoir’s film, e.g. two sequential shots of the same subject are taken from camera positions that vary only slightly to give effect of jumping forwards in time. Favoring fluidity and naturalism, Renoir typically chooses to change time periods by ellipses. This is not to say that Renoir does not employ any jump cuts at all. A notable exception can be seen in the Prologue when the German guard arrives to take Maréchal and de Boeldieu into captivity.
Examples of Film’s Camera Technique
Deep focus: Renoir blocks the action with the German guards in the foreground, the prisoners and more guards in the middle and buildings in the background, keeping everything in sharp focus.
Shallow focus: As de Boëldieu comments on marching soldiers in the first frame, Renoir gives us a close-up of his smiling face. A German soldier is visible but is slightly out of focus. The camera then tracks backward so in the second frame we can see all of the French prisoners working on their costumes for the concert. Renoir lets us now see more fully all of the soldiers marching that were referenced in prior frame. Yet, though the marching soldiers are visible in the window’s frame, they are still slightly out of focus.
Camera Tracking: In the film, as Elsa tells Maréchal and Rosenthal about her brothers and husband who have died in the war, the camera tracks across their pictures and finally settles on an empty dinner table far too big for just Elsa and Lotte. The camera tracking is heartbreaking. And, we realize why Elsa is so happy to finally have Maréchal at her table.
* For an in-depth discussion of Renoir’s use of theatrical space and composition see Cardullo, 142-144.
Source: La Grande Illusion, 1937. Other Sources consulted: O’Shaughnessy, 2013, 16-32; O’Shaughnessy, 2009, 8-9 and 47-59; Macdonald, 27-108; Jackson, 38-40; Cairns, 23-27.
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