During the first World War, two French soldiers are captured and imprisoned in a German P.O.W. camp. Several escape attempts follow until they are sent to a seemingly impenetrable fortress which seems impossible to escape from.
The location: Nazi occupied Rome. As Rome is classified an open city, most Romans can wander the streets without fear of the city being bombed or them being killed in the process. But life ... See full summary »
Captured French Resistance fighter Andre Devigny awaits a certain death sentence for espionage in a stark Nazi prison. Facing malnourishment and paralyzing fear, he must engineer an ... See full summary »
Charles Le Clainche,
During 1st WW, two French officers are captured. Captain De Boeldieu is an aristocrat while Lieutenant Marechal was a mechanic in civilian life. They meet other prisoners from various backgrounds, as Rosenthal, son of wealthy Jewish bankers. They are separated from Rosenthal before managing to escape. A few months later, they meet again in a fortress commanded by the aristocrat Van Rauffenstein. De Boeldieu strikes up a friendship with him but Marechal and Rosenthal still want to escape... Written by
The battles in which Elsa's brothers died - Charleroi, Tannenberg and Liege - were all battles from 1914, the first year of the war. The Battle of Liège was the opening battle of the German invasion into Belgium, and the first battle of World War I. The Battle of Charleroi was fought on 21 August 1914 between the French and the Germans. The Battle of Tannenberg was in August 1914 and was fought between the Russians and the Germans. See more »
When Boeldieu is dead, Rauffenstein wants to close his eyes with his hand. When the hand of Rauffenstein gets close to Boeldieu, his eye moves. See more »
In the old European order, pre-WWI, one nation's aristocracy made war on another's not out of love for king and country or hatred for the enemy, but out of a sense of honor and duty. War was what they did, these aristocrats of l'ancien regime. Their castles in the air, their noble worldview, their time-honored way--all would crumble, as they very well knew, if the line between the rabble and themselves were allowed to continue to blur. The masses had new and different loyalties.
"La Grande Illusion" in 1914 was the hope that that old order could be preserved in the face of surging democracy and noveau-riche power. Jean Renoir's film presents us with an irony: the martial elites of France and Germany needed the war to vouchsafe their very identities, and yet that conflict would prove their undoing. Whatever side won, the hoi polloi would gain the upper hand.
Restored from its original camera negative, the 1937 French film now on DVD sparkles like new. The restoration lets us see that nothing is dated about this work of genius, even if its POW-camp situations today seem stock and its characters stereotypes of nationality and class. The fine acting, the deft pacing, and the fluid camerawork make for a film that could have been produced last year. The whispered subtext, the nuanced conflicts, and the ironic complexity make for a film that is timeless.
The subtext is the eternal tension between "in the air" and "on the ground," "on high" and "here below," "from a distance" and "up close and personal." From a distance, war is no more rancorous than a chess game, with national boundaries as artificial as the squares on a chessboard. Up close and personal, war separates humans from their lives and aspirations, lovers from their beloveds.
The old elites loved nothing but their class and its accoutrements. It was peasant stock and noveau riche who belted out national anthems and honored the borders which in wartime could sever lover from lover but, paradoxically, also shield prison-camp escapees who made it across them to sanctuary. Renoir's genius was that he could show that an emergent new order, manifestly better on the ground, comes at a steep price, tragically, in the air.
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