L'armée des ombres (1969)

Director:

Jean-Pierre Melville

Writers:

Jean-Pierre Melville (adaptation) and
Joseph Kessel (novel)

Release Date:

12 September 1969 (France)

Genre:

Drama | War

Plot:

France, 1942, during the occupation. Philippe Gerbier, a civil engineer, is one of the French Resistance's chiefs...

Plot Keywords:

French | Camp | Civil Engineer | Resistance | French Resistance

Awards:

3 wins

Cast

Lino Ventura	...	Philippe Gerbier
Paul Meurisse	...	Luc Jardie
Jean-Pierre Cassel	...	Jean François Jardie
Simone Signoret	...	Mathilde
Claude Mann	...	Claude Ullmann dit 'Le Masque'
Paul Crauchet	...	Felix Lepercq
Christian Barbier	...	Guillaume Vermersch dit 'Le Bison'
Serge Reggiani	...	The hairdresser
André Dewavrin	...	Colonel Passy
Alain Dekok	...	Legrain
Alain Mottet	...	Commander of the camp
Alain Libolt	...	Paul Dounat
Jean-Marie Robain	...	Baron de Ferte Talloire
Albert Michel	...	Gendarm
Denis Sadier	...	Gestapo's doctor

Also Known As:

Army in the Shadows
Army of Shadows (USA)
L'armata degli eroi (Italy)
The Shadow Army

Runtime:

Spain:140 min | UK:145 min | USA:145 min | Argentina:145 min

Country:

France | Italy

Language:

French | German | English

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono | Dolby Digital (2006 restoration)

Certification:

Iceland:L | Argentina:13 | Finland:K-16 | Spain:18 | Sweden:15 | UK:AA (original rating) | UK:AA (1978) | UK:12A (re-rating) (2005)

Filming Locations:

Avenue Hoche, Paris 8, Paris, France

Company:

Les Films Corona

Trivia:

For the shot depicting German soldiers marching down the Champs Elysees, Jean-Pierre Melville thought that it would be impossible to get regular Frenchmen to provide the proper marching movements. He ended up casting dancers to correctly provide the march steps he wanted from the soldiers. This shot was originally the last in the film and prints were sent to theaters with it in that place. After the first showings, Melville decided the scene was better placed at the start of the film and it was physically spliced into the new position. This apparently resulted in several missing frames in the negative. These frames were restored from another source when the 2005 digital restoration was accomplished.

Goofs:

Continuity: In the sequence when Mathilde exits the car and silently waves goodbye to Gerbier, in response he rolls his window up completely, yet in the very next shot his window remains open as the car drives away.

Quotes:

Philippe Gerbier: See you later, Comrade.
Legrain: ...You're a communist?
Philippe Gerbier: No. But I can still have comrades.

Movie Connections:

Featured in Broken English (2007)

Soundtrack:

Symphony No. 41 (Jupiter)

Melville's Powerful Epic

This is a tough, somber film that captures the absurdities involved in war, and, ultimately, in life. The French Resistance "heroes" in the story are never shown conducting sabotage or planned attacks against the Germans, as one would get in a traditional World War II movie. Instead, we follow their claustrophobic and paranoid lives as they move from one hiding place to another (or one prison to another), constantly hounded by those in power, haunted by their own actions and the inability to communicate with those dear to them. Melville shows us their doubts and questions as they deal with betrayal, cowardice, and the murky ethics of killing their own to preserve the larger good.

Every episode in the film seems to lead to a darkly ironic conclusion, and the meaninglessness of their efforts becomes almost overwhelming, except that, somehow, these ordinary people continue to offer resistance in the face of death, so that their heroism lies not in the ability to stop the Germans but in taking action at all while facing the abyss.

While the acting is excellent all around, Lino Ventura's performance as Gerbier deserves special attention. It's hard to imagine any other actor bearing the tremendous weight of this film as well as he does. Gabin, at an earlier age, might have had the physical and emotional strength, but I'm not sure he would've been capable of Ventura's unassuming portrayal, which is so necessary for his character. The "shadows" at the core of this tale are seriously dark, and Ventura's Gerbier is strong enough to face them, yet modest enough to realize he can't conquer them on his own. The only way the Resistance makes sense by the end of this film, is in the collective effort of its members. Similarly, each of us, individually, cannot conquer death, but we as a group of human beings can continue to live on. _L'Armée des ombres_ ultimately moves beyond a story of the French Resistance in World War II and serves as a powerful existentialist epic, with Ventura's performance responsible for much of the film's dignity and humanity.

As with _Léon Morin, prêtre_ (1961), another story set during the war, Melville seems more emotionally present in _L'Armée des ombres_ than he does in his policiers or noir pieces, and after seeing the film, his overall body of work suddenly seems much heftier. While the movie isn't as visually daring of some of his other works, it has a dark beauty all its own, and his pacing, editing, shot selection, and use of sound show him in great artistic control. Forty-eight hours after seeing it, I still find myself caught in its world.