One of those crime films with the deep shadows, the chiaroscuro and accompanying shades of moral greyness, that distinguishes film noir, in which all the inhabitants of a small town are brought into conflict by a mysterious letter writer, whose identity gets pinned to any number of people throughout the film, and whose accusations get steadily more unnerving. Clouzot is most interested, it seems, in the way that ‘decent’ people can have their judgement clouded, and become the enemies of other ‘decent’ people, ultimately suggesting perhaps that everyone has base motivations. Given that it was made under German occupation, it’s not a stretch to suggest that Clouzot — if not uncomplicatedly making an anti-Nazi film — is at least not willing to let anyone off the hook for what humanity is capable of.
FILM REVIEW: Criterion Collection
Director Henri-Georges Clouzot; Writers Louis Chavance and Clouzot; Cinematographer Nicolas Hayer; Starring Pierre Fresnay, Micheline Francey, Ginette Leclerc; Length 93 minutes.
Seen at a friend’s home (DVD), London, Sunday 9 September 2018.
There’s something almost a little unfashionable, it seems to me, about filmmaking in the 1930s and 1940s, perhaps because fashions and lifestyles in the lead-up to world war were just a little more buttoned-down and less flamboyant, and stories had to keep pace with dolorous political events. But this also means it was a time when stories of great humanity and soul were being made, not least by French filmmaker Jean Renoir, whose great masterpieces of this era still sit solidly near the top of ‘best ever’ film canons. La Grande illusion is Renoir at the top of his form, crafting a beautifully-shot story of class antagonism set at a German prisoner of war camp during World War I. It depicts a changing world, where the aristocrats in charge (Pierre Fresnay’s de Boeldieu, and Erich von Stroheim’s von Rauffenstein) find that the extreme events of war have united them with people they’d not usually fraternise with (Jean Gabin’s mechanic Maréchal and Marcel Dalio’s Jewish nouveau riche Rosenthal, among others). It’s clear that each has different ideas of the value of war and about how it should be conducted, and ultimately the film sides with the lower-class characters, implying that aristocratic values are increasingly irrelevant and doomed to disappear. (Would that this had been proven true in the real world, where Renoir’s warnings about war’s futility were hardly taken on-board, and where our current ruling classes hardly seem to have moved on in some respects.) It’s all beautifully filmed in shimmering monochrome, and in the end somehow uplifting, despite the setting.
- As with these early Criterion DVD releases, there are some text-based extras, although the Press Book essays are fairly informative.
- There’s a brief demonstration of the film’s restoration, and indeed the print is sparkling and gorgeously-toned.
- An audio excerpt of the film winning at the 1938 New York Film Critics Awards has the voices of Renoir and von Stroheim.
- A trailer presents not the film but instead Renoir talking about the film and his experiences making it (looking back from the late-1950s).
- Finally, Peter Cowie’s commentary is attentive to the film, giving some background and discussing some of the issues that Renoir raises.
FILM REVIEW: Criterion Collection
Director Jean Renoir | Writers Jean Renoir and Charles Spaak | Cinematographer Christian Matras | Starring Jean Gabin, Pierre Fresnay, Marcel Dalio, Dita Parlo, Erich von Stroheim | Length 114 minutes || Seen at home (DVD), London, Sunday 26 October 2014