Written and directed by Jean Renoir, A Day in the Country was filmed largely in 1936, but Renoir never finished the film due to weather problems, and left the production to begin work on The Lower Depths. It was released in 1946, after producer Pierre Braunberger turned the material into a releasable film. This accounts for the film’s abrupt ending, for which producer Pierre Braunberger decided to use a title card in place of an additional fifteen minutes of footage that was never shot. Also, to call this strictly a Renoir film would be a misnomer, as it ignores the fact that assistant director Jacques Becker shot portions of it while Renoir was absent. While Jean Renoir deserves ample credit for what he contributed to A Day in the Country, the obvious involvement of others should simply be considered.

Based on a short story by Guy de Maupassant, A Day in the Country is about a love affair on a summer afternoon in 1860 France. Monsieur Dufour (André Gabriello) takes his family for a Sunday in the country. As the family enjoys themselves, two local men (Georges D’Arnoux & Jacques B. Brunius) decide to make a play for Madame Dufour (Jane Marken) and her daughter, Henriette (Sylvia Bataille). Enjoying her surroundings, Henriette flirts back, but real world realities could prevent love from ever really developing.

Bataille’s earnest performance becomes the focal point, as her character represents the innocence of youth and the awe of self-discovery. One of the most memorable scenes comes early on, when Henriette tells her mother how overwhelmed she feels around the beauty of nature. Later, when Henri takes Henriette on a skiff ride along the river, she revels in the silence. Henri, who grew up around the lake, complains about the sound of the flies. Even in the course of a simplistic story, Renoir is able to skillfully examine the cultural differences between the social classes, a consistent theme in his best known work.

Whether it was Renoir’s intention, or a result of multiple hands involved, A Day in the Country goes from a feeling of frivolousness to darkness quickly. Once Henri has Henriette safety secluded, he forces himself on her, the camera lowered to the ground, capturing the moment her innocence is compromised. It’s a response to an earlier low angle shot where she had been swinging happily. The apparent message being, in order for Henri to assert his masculine authority, he must strip Henriette of her innocent longings. This is followed by a montage of wind blowing through trees and heavy rainfall. This then segues into a title card and brief epilogue. It all feels to quick, the loss of the missing footage is rather obvious

With all that said, A Day in the Country still offers up some of the basic characteristics Renoir fans have come to expect from his work, and also makes you wonder what the film would have been had he finished it. Despite its flaws, A Day in the Country is still well worth a watch.

Given a new 2K restoration, Criterion’s 1080p presentation is presented in the 1.37:1 aspect ratio. Truly meticulous, Jean Renoir’s deep focus cinematography looks marvelous. Depth and clarity is top-notch throughout, and the image has no artifacts to speak of. Contrast has been perfectly calibrated. Yes, I’m gushing, but this transfer is truly wonderful.

The DTS-HD 1.0 mono audio track is just as impressive, offering crisp sound, and clear dialogue throughout. Joseph Kosma’s memorable score is also well balanced.

English subtitles are included.

The following extras are available:

  • Introduction by Director Jean Renoir from 1962 (HD, 5:42) Renoir reveals his original intent to have the film be part of an omnibus program. He also briefly mentions his abandonment of the project and in a bit of a strange turn he discusses the importance of plagiarism.
  • Interview with Renoir Scholar Christopher Faulkner (HD, 24:39) Conducted by Criterion in October 2014, Faulkner discusses the film’s troubled production history, and where it fits in the director’s cannon.
  • New Video Essay by Christopher Faulkner on Renoir’s Methods (HD, 16:20) Here, Faulkner discusses Renoir’s apparently frequent use of improvisation during the production.
  • Un Tournage a la Champagne (HD, 129:16) Compiled in 1994, this is a treasure trove of outtakes from the film. For any Renoir fan, this really is a must-see.
  • 1979 Interview with Producer Pierre Braunberger (HD, 5:32) Braunberger discusses his relationship with Renoir, and the difficulties completing A Day in the Country.
  • Screen Tests (HD, 9:33)
  • Leaflet: An illustrated leaflet featuring an essay by film scholar Gilberto Perez.