I think the tendency of post-war European cinema around this time, especially in Italy, was towards neo-realism, shooting on the streets, giving that documentary sense of gritty immediacy, and so Renoir shooting a very theatrical film on the soundstages of Cinecittà in Italy, with a very stylised use of saturated colour and glorious, ornate sets and costumes, with Italian and American actors speaking in English in a story set in Latin America (Peru, apparently) feels like a very studied riposte to all that. In fact, it feels like a more deeply-felt commentary on the nature of acting and performance to make this kind of film at this time, a film that dwells on spectacle as something which almost seems corrupting: the obscenity of the golden coach at the film’s centre makes the government lose their minds, and becomes a tool of bargaining between men and, ultimately, the church — in a penultimate speech by the Bishop which is interrupted by Renoir cutting between all the assembled faces, expressing wry delight or shocked disdain. There’s a subtle comment on the nature of imperialism, too, as this Latin American colony becomes enthralled to the Italian Anna Magnani and her troupe of actors, threatening to depose the viceroy and create a new life fighting for the rights and sovereignty of the native peoples (though this at least feels a little in passing). I think Renoir’s later films are some of his finest work, operating at a different register from much of contemporary cinema, and all the better for it.
[NB Criterion lists the year as 1953, although this film appears to have been released in Italy in December 1952.]
FILM REVIEW: Criterion Collection
Director Jean Renoir | Writers Renoir, Jack Kirkland, Renzo Avanzo, Giulio Macchi and Ginette Doynel (based on the play Le Carrosse du Saint-Sacrement by Prosper Mérimée) | Cinematographer Claude Renoir | Starring Anna Magnani, Odoardo Spadaro, Duncan Lamont | Length 103 minutes || Seen at home (DVD), London, Sunday 3 March 2019