La Bete Humaine (1938)

 Jean Renoir’s “La Bete Humaine”

Thematic Elements:  

Renoir’s ‘La Bete Humain’ was made during a dark time in France at the onset of World War II. The films that were being made during that time were of a dark and gloomy nature, which seems to have set up the American ‘film noir’ movement that followed once the war actually started. The film is told from the perspective of the working-class people. The protagonist, Lantier, loves his work as a train conductor. He is tied to this way of life, constantly on the move and constantly shoveling coal into the fire pits of a furnace as the train whizzes from place to place. He even comments in the film how he can watch the seasons go by from the fast-moving train. His problems arise when he isn’t working and isn’t on the move. Lantier is bound by his work and cannot keep still in domesticity as he has repressed aggression that comes out in moments of peace and quietness. He recognizes these fits of violence and anger and feels doomed by them, knowing that when he is away from the loud and tireless conduction of his train, he cannot control his restless aggression. He knows that he is headed down a path in only one direction, speeding his way there just like the train he operates. This tormented psyche of the working class is on full display as the overhaul and oppressive work becomes their only way of life, making them increasingly volatile and repressed which can only come out in their moments of tranquility. There can not be a tranquil life for the workers, only the work can remedy and temper this bubbling and controlled anger and restlessness. Therefore, these working class citizens are reduced to being human beasts (La Bete Humaine). 

Camerawork:

 Renoir’s opening shot is that of the screaming inferno of the train furnace, which signifies Lantier’s firey inner state of unrelenting torment and fiery inner energy. Renoir tells the story with tremendous ongoing and forward motion, like that of the trains in the film, always unfolding and speeding down a straightforward path – each sequence setting up the next to reach a conclusion that can only damn the characters to tragic circumstances. With strokes of film noir, Renoir paints a picture of characters filled with inner darkness, constantly seeking something that cant fulfil their desires – destined to a finale of tragic consequences. He also uses strokes of poetic realism. The realism comes from the natural and physical environments the characters inhabit, grounding them very much in the real world – this world. The poetry comes from the way Renoir films the story, treating each character with intense humanity – meditating on their moments of human pain and suffering while also not judging their cruel and abusive actions. This poetic portrayer suggest these characters are not inherently sinister or beastly, but rather tragic victims of their culture, environment, and their past.

Best Shot: 

The best shot in the film occurs after Lantier has just killed Severnine. He is walking down the track at night. This shot by Renoir is pointing to the notion that Lantier is not free to move any other direction other than forward, like his train. He cannot leave the tracks but must continue down this dark path towards tragedy and self-destruction.