| Photos (See all 10 | slideshow) |
| Nora Gregor | ... | Christine de la Cheyniest (as Nora Grégor) | |
| Paulette Dubost | ... | Lisette, sa camériste | |
| Mila Parély | ... | Geneviève de Marras | |
| Odette Talazac | ... | Madame Charlotte de la Plante | |
| Claire Gérard | ... | Madame de la Bruyère | |
| Anne Mayen | ... | Jackie, nièce de Christine | |
| Lise Elina | ... | Radio-Reporter (as Lise Élina) | |
| Marcel Dalio | ... | Marquis Robert de la Cheyniest (as Dalio) | |
| Julien Carette | ... | Marceau, le braconnier (as Carette) | |
| Roland Toutain | ... | André Jurieux | |
| Gaston Modot | ... | Edouard Schumacher, le garde-chasse | |
| Jean Renoir | ... | Octave | |
| Pierre Magnier | ... | Le général | |
| Eddy Debray | ... | Corneille, le majordome | |
| Pierre Nay | ... | Monsieur de St. Aubin | |
| Richard Francoeur | ... | Monsieur La Bruyère (as Francoeur) | |
| Léon Larive | ... | Le cuisinier | |
| rest of cast listed alphabetically: | |||
| Nicolas Amato | ... | L'invité sud-américain (uncredited) | |
| Henri Cartier-Bresson | ... | Le domestique anglais (uncredited) | |
| Celestin | ... | Le garçon de cuisine (uncredited) | |
| Tony Corteggiani | ... | Berthelin (uncredited) | |
| Roger Forster | ... | L'invité efféminé (uncredited) | |
| Camille François | ... | Le speaker (uncredited) | |
| Jenny Hélia | ... | La servante (uncredited) | |
| André Zwoboda | ... | L'ingénieur (uncredited) | |
Directed by | |||
| Jean Renoir | |||
Writing credits | ||
| Jean Renoir | (scenario & dialogue) | |
| Carl Koch | (collaborator) (as Koch) | |
Produced by | |||
| Jean Renoir | .... | producer (uncredited) | |
Cinematography by | |||
| Jean-Paul Alphen | (as Alphen) | ||
| Jean Bachelet | (as Bachelet) | ||
| Jacques Lemare | |||
| Alain Renoir | |||
Film Editing by | |||
| Marthe Huguet | (as Mme Huguet) | ||
| Marguerite Renoir | (as Marguerite) | ||
Production Design by | |||
| Max Douy | (as Douy) | ||
| Eugène Lourié | (as Lourié) | ||
Costume Design by | |||
| Coco Chanel | (as La Maison Chanel) | ||
Makeup Department | |||
| Ralph | .... | makeup artist (uncredited) | |
Production Management | |||
| Camille François | .... | production supervisor | |
| Raymond Pillon | .... | unit manager (as Pillon) | |
| Claude Renoir | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Henri Cartier-Bresson | .... | assistant director (as Henri Cartier) | |
| André Zwoboda | .... | assistant director | |
Sound Department | |||
| Joseph de Bretagne | .... | sound engineer (as De Bretagne) | |
Camera and Electrical Department | |||
| Sam Levin | .... | still photographer | |
Music Department | |||
| Roger Desormière | .... | conductor: Mozart and Monsigny (as Roger Desormières) | |
| Pierre-Alexandre Monsigny | .... | music by (as Monsigny) | |
| Wolfgang Amadeus Mozart | .... | music by (as Mozart) | |
Other crew | |||
| Dido Freire | .... | script girl (uncredited) | |
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| La grande illusion | Rois et reine | L'accompagnatrice | Madame Bovary | Bon voyage |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb France section |
Jean Renoir said that this was not intended to be a social commentary, and whether he truly intended it to be (he referred to it as, "An exact description of the bourgeoisie of our time.") or not, it is hard to dismiss that it hit close to home. So offended were the masses that the picture was banned. It is said that behind every joke there is truth, and whether this was intended to be a joke or not, Renoir still found truth. One could argue the director's intentions all day, but one matter that cannot be disputed is that this film is extraordinary! As a handful of French men and women converge on a château for a hunting expedition, their love affairs clash with their obligations to society's game. For instance, one cannot leave one's lover to be with another until he has confessed his adultery to her. Attempts to leave with another man's wife are particularly difficult, as well, unless the other man has a mistress of his own. These are but a few rules of the game. The old are for the old, the young are for the young. Members of one social order are forbidden to see members from another, and so on. Combine these rules with a tangled web of countless love affairs between a handful of people, and you can see the madness that erupts during the course of this movie. The parts are all played well, but it is the writing and directing of Renoir that makes the film the masterpiece that it is. Keeping all of these sordid affairs in order is an achievement in its own right, but Renoir moves his pieces all over the board like a skilled chess player, achieving his goal while never forgetting the rules of the game!