Jean Renoir, one of the greatest filmmakers in the history of cinema, created a masterpiece that continues to captivate audiences with its timeless beauty. “The River,” released in 1951, marked a significant turning point in Renoir’s illustrious career, both in terms of its visual splendor and thematic depth. The film, celebrated by luminaries like Martin Scorsese and Wes Anderson, transports viewers to the enchanting landscapes of India, weaving a story that explores the rhythms of existence, the transitory nature of life, and the beauty of the world. In this article, we’ll delve into the artistry of “The River” and its lasting impact on the world of cinema.
A Journey to India: The Genesis of ‘The River’
Renoir’s journey to make “The River” was marked by determination, passion, and the audacity to break with convention. Initially unemployable in Hollywood, Renoir stumbled upon a review of Rumer Godden’s autobiographical novel, “The River,” set in India, and was instantly captivated. He embarked on a relentless pursuit to adapt the novel into a film, a quest that would eventually take him to the heart of India.
The pivotal moment in the film’s inception came when Renoir met Kenneth McEldowney, a Beverly Hills florist and real estate agent, who agreed to finance the movie by selling his home and flower shops. McEldowney’s investment paved the way for Renoir to immerse himself in India, a country that would become a character in its own right within the film’s narrative.
The Casting Challenge: A Film of Unknowns and Amateurs
Money constraints, combined with the reluctance of big Hollywood stars to spend extended periods in India, presented a significant casting challenge for Renoir. Marlon Brando, James Mason, Sam Wanamaker, Glenn Ford, and Van Heflin were among those who turned down the role of Captain John, the American veteran with a missing leg. This led Renoir to cast relatively unknown actors and amateurs for the film, such as Patricia Walters and Thomas E. Breen, who had their first and only film appearance in “The River.”
The story revolves around the coming-of-age of a young girl, Harriet, growing up along the banks of the Ganges river. Her family, comprising her father and siblings, live an idyllic life as expatriates, surrounded by love and affection. However, their peaceful existence is disrupted when an American veteran arrives, and tensions, jealousies, and heartaches unfold against the backdrop of India’s scenic beauty and the meandering river that symbolizes the passage of time.
Renoir’s Creative Solutions
Renoir’s financial constraints extended to the lack of equipment, leading to creative solutions during the filming process. He used shorter shots as he couldn’t employ dollies, forcing him to choreograph scenes differently. For example, in a key dance sequence by Radha, he had her move back and forth in front of the camera to facilitate close-ups.
Post-production brought its own set of challenges as the acting of some amateurs fell short. Reshoots were not an option, so Renoir skillfully compensated by integrating stunning vistas of India that he had filmed separately. The result was a film where India itself became a character, with vibrant scenes of bustling bazaars, the Diwali Festival of Lights, the worship of goddess Kali, snake charmers, and the mesmerizing river. The vivid Technicolor processing alone took five months to complete.
It’s noteworthy that “The River” unfolds in post-independence India, a time when the nation was striving for freedom from British colonial rule. However, the film doesn’t delve into this historical context. Instead, it focuses on the universal themes of love, growth, and the impermanence of life, creating a narrative that transcends time and place.
A couple of side notes add layers of authenticity to the film. Thomas E. Breen, who portrayed Captain John, was a real amputee and had served in the US Marine Corps during World War II. Esmond Knight, who played Harriet’s father, had also lost an eye during WWII, mirroring his character’s condition in the movie. Furthermore, Nora Swinburne, who portrayed Harriet’s mother, was, in real life, married to Esmond Knight.
Recognition and Influence
“The River” garnered significant recognition on the international stage. It won the International Award at the Venice Film Festival in 1951, solidifying its place among the most exceptional films of its time. Martin Scorsese, one of the most respected filmmakers of our era, included it in his list of top 10 favorite films, acknowledging its enduring impact on cinematic history.
Wes Anderson, the acclaimed director of films like “The Grand Budapest Hotel” and “Moonrise Kingdom,” has also cited “The River” as a significant influence on his decision to shoot “The Darjeeling Limited” in India in 2007. The film’s enduring legacy continues to inspire new generations of filmmakers and cinephiles.
The Restoration of a Cinematic Gem
In recent years, “The River” received a meticulous restoration by the Academy Film Archive in collaboration with the BFI (British Film Institute) and Janus Films. This restoration project was made possible with funding from the Hollywood Foreign Press Association and Martin Scorsese’s The Film Foundation.
The restored version of “The River” is now available on HBO Max, offering audiences the chance to witness its Technicolor glory in all its splendor. The restoration process involved working with the 35mm nitrate three-strip original camera negatives and a 35mm IB Technicolor print provided by Scorsese. This painstaking effort aimed to recreate the film’s visual brilliance while preserving its historical value.
From the restored track negative and the original three-strip negatives, a fully corrected answer print was crafted at Cinetech, a specialized lab in Valencia, California, dedicated to archival restoration. Additionally, 35mm black-and-white fine-grain master positives were created from the three-strip negative, along with a combined color interpositive. The culmination of this restoration was the recombined 35mm color internegative, which will serve as the foundation for all future prints and presentations of the film.
“The River” is not merely a film; it is a work of art, a testament to Jean Renoir’s cinematic genius, and a timeless exploration of life’s fleeting beauty. Its journey from inception to restoration is a story of passion, creativity, and dedication to preserving the magic of cinema.
As viewers, we are fortunate to have access to this beautifully restored gem that transports us to the enchanting world of India, where the river flows gracefully, marking the passage of time and the inevitability of change. Jean Renoir’s “The River” is a film that lingers in our hearts, reminding us of the profound beauty that exists in the world, even as it constantly changes around us.
A Cinematic Revelation for Martin Scorsese
Martin Scorsese’s profound appreciation for “The River” offers an excellent starting point to explore the film’s significance. Scorsese, known for his masterful storytelling and direction, was profoundly influenced by the experience of watching “The River” as a young boy. He often reminisces that it was one of the formative film experiences of his life, alongside “The Red Shoes.” In fact, Scorsese describes both films as “the two most beautiful color films ever made.”
What makes “The River” stand out is its exquisite use of Technicolor, which marked a significant departure for Jean Renoir. It was his first venture into color filmmaking, and he collaborated with his nephew, Claude Renoir, who served as the lighting cameraman, to create a visual spectacle that would remain etched in the memory of anyone who watches it.
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