ABSTRACT Jean Delannoy suffered more than any other director from the New Wave narrative of the Tradition of Quality as a bureaucratic, academic, professional and soulless production disconnected from everyday life. Compared to an insurance salesman by his critics, Delannoy came to encapsulate the ultimate commodification of cinema. However, a close look at the director’s work during the late 1940s – arguably his peak – shows that it was far from old-fashioned. On the contrary, the author argues that his late 1940s output contributed to French cinematic modernism, particularly Les Jeux sont faits/The Chips Are Down (1947), Aux yeux du souvenir/To the Eyes of Memory (1948) and Le Secret de Mayerling/The Secret of Mayerling (1949). The author turns the view of Delannoy as a mere insurer on its head to instead reframe the director as a moderniser. The first part of the article situates in historical context Delannoy’s rise to prominence and his reformist attitude. The second part theorises the relation between insurance and modernity. The final part conducts a close reading of Les Jeux sont faits to showcase what the author calls Delannoy’s ‘cold humanism’, an intellectualisation of cinema that entailed embracing non-cinematic registers and destabilising narrative expectations.
Read full abstract