An earlier reviewer noted that Simon's character in Renoir's La Chienne is a "metamorphosis" partner of Boudu. I cannot verify that per se, but it is interesting to point out that many of the stylistic developments in La Chienne carry over into Boudu. There is amazing depth of field - through windows (like Chienne... or M. Lange), exteriors (the hunt for Boudu's dog is exemplary) and especially in the Lestingois house. Renoir utilizes long pans to help construct the space. Again, Renoir positions the camera in a manner where there are obstructions to a full view created by objects in the space. This technique fosters a sense of realism through the unobtrusive camera. Narrow corridors abound and provide for deep staged setups. Renoir is finally liberating the camera and allowing for some of his later 'signature' mobile framing shots. The long take is also being introduced into the stylistic system... one of the final shots of Boudu floating in the canal as the Blue Danube Waltz plays in the soundtrack reminds us that originality in auteurship is still borne of influence and respect (Kubrick's 2001). Renoir also pays some respect to the French Impressionist filmmaker colleagues of his from years past. His novel use of sound as bridges between scenes is as creative and compelling as the ways in which avant-gardists were bridging with images in the silent era. Renoir also continues with practical applications of sound which began in On Purge. He positions a police officer with back facing the camera creating an ominous sense of authority when provided spoken lines. Although I am not a huge fan of Renoir's Hollywood productions, the drowning sequence in Boudu surely influenced some of the action sequences in a film like This Land is Mine (1943). The drowning sequence in Boudu is composed of a montage of shots, with unique angles and povs. The sound during the sequence is diegetic - traffic and crowds - which adds a suspense built around milieu realism as opposed to theatrical drama. Boudu (played excellently by Simon) is an incorrigible rascal whose physical comedy evokes laughing out loud (Chaplin, Keaton and the like). However, there are deep social relationships at play and it isn't so reducible to a critique of "misguided" bourgeois charity. We must be reminded that as sentimental as Boudu can be, it is also clear that he is mentally ill. I find it preposterous to believe that Renoir would be condemning a socio-economic class for diseases of the mind which discriminate against no one. My thesis for now is that Renoir is an impresario of the film medium above all else and as such sought to provide a pleasurable experience for the spectator. The treatment of Boudu remains lighthearted... enough so to not rouse suspicion of moral implications for the scenario. Again, Renoir is not so ambiguous or ambivalent in his politics as he is committed and determined to rendering a film experience that satisfies the myriad of audiences that might be in attendance. To that end he succeeds marvelously with this film.
Review of Boudu Saved from Drowning
