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The Game Is Over
The Game Is Over (original title La Curée, "The Kill") is a 1966 drama film directed by Roger Vadim and starring Jane Fonda, Peter McEnery, and Michel Piccoli. The film is a modern-day adaptation of the 1871-72 novel La Curée by Émile Zola. Two different versions of the film were made and released, one in English, the other in French.
In Paris, Maxime Saccard visits his wealthy industrialist father Alexandre and his beautiful young Canadian wife, Renée. Alexandre fathered Maxime years ago in a prior marriage and Maxime has come to stay with them after studying in England.
Renée tells Maxime that she married Alexandre when she was pregnant following an unhappy love affair; the child was stillborn and the passion between the two has faded.
Renée and Maxime begin an affair and fall in love with each other. Renée, who came from a wealthy family, asks Alexandre for a divorce. He agrees, on the condition that she leaves the fortune she brought to their marriage invested in his business.
Renée accepts this and goes to Switzerland for a divorce. But while she is away, Alexandre confronts his son with two alternatives: he can either run off with the now penniless Renée or become engaged to Anne Sernet, the daughter of a wealthy banker whose support Alexandre wants for his business. Maxime agrees on the second course of action.
Renée returns from Switzerland to find Alexandre holding a ball celebrating Maxime's engagement to Anne. Renée throws herself into the pool to kill herself – but then changes her mind and dripping wet enters the party. Alexandre escorts her to the gymnasium, where she sits and stares into an empty future.
The movie was one of a series Vadim made based on a classic text. He described the book as "about high society in Paris with a rather serious background, since it likens dogs turning on a deer in a hunt to people."
"I am making no attempt to give the wide sociological picture that Zola did", added Vadim. "I am not a naturalist or a moralist. The Zola characters were hardly everyday. There was something fantastic about them, though they have their counterparts today, as I hope to show."
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The Game Is Over
The Game Is Over (original title La Curée, "The Kill") is a 1966 drama film directed by Roger Vadim and starring Jane Fonda, Peter McEnery, and Michel Piccoli. The film is a modern-day adaptation of the 1871-72 novel La Curée by Émile Zola. Two different versions of the film were made and released, one in English, the other in French.
In Paris, Maxime Saccard visits his wealthy industrialist father Alexandre and his beautiful young Canadian wife, Renée. Alexandre fathered Maxime years ago in a prior marriage and Maxime has come to stay with them after studying in England.
Renée tells Maxime that she married Alexandre when she was pregnant following an unhappy love affair; the child was stillborn and the passion between the two has faded.
Renée and Maxime begin an affair and fall in love with each other. Renée, who came from a wealthy family, asks Alexandre for a divorce. He agrees, on the condition that she leaves the fortune she brought to their marriage invested in his business.
Renée accepts this and goes to Switzerland for a divorce. But while she is away, Alexandre confronts his son with two alternatives: he can either run off with the now penniless Renée or become engaged to Anne Sernet, the daughter of a wealthy banker whose support Alexandre wants for his business. Maxime agrees on the second course of action.
Renée returns from Switzerland to find Alexandre holding a ball celebrating Maxime's engagement to Anne. Renée throws herself into the pool to kill herself – but then changes her mind and dripping wet enters the party. Alexandre escorts her to the gymnasium, where she sits and stares into an empty future.
The movie was one of a series Vadim made based on a classic text. He described the book as "about high society in Paris with a rather serious background, since it likens dogs turning on a deer in a hunt to people."
"I am making no attempt to give the wide sociological picture that Zola did", added Vadim. "I am not a naturalist or a moralist. The Zola characters were hardly everyday. There was something fantastic about them, though they have their counterparts today, as I hope to show."