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Army of Shadows (1969)
"L'armée des ombres" (original title)

 -  Drama | War  -  12 September 1969 (France)
8.1
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Ratings: 8.1/10 from 12,030 users   Metascore: 99/100
Reviews: 74 user | 113 critic | 24 from Metacritic.com

A account of underground resistance fighters in Nazi-occupied France.

Writers:

(novel), (adaptation)
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Cast

Cast overview, first billed only:
...
Paul Meurisse ...
...
Jean François Jardie
...
Claude Mann ...
Claude Ullmann dit 'Le Masque'
...
Felix Lepercq
Christian Barbier ...
Guillaume Vermersch dit 'Le Bison'
...
The hairdresser
André Dewavrin ...
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
Edit

Storyline

France, 1942, during the occupation. Philippe Gerbier, a civil engineer, is one of the French Resistance's chiefs. Given away by a traitor, he is interned in a camp. He manages to escape, and joins his network at Marseilles, where he makes the traitor be executed... This non-spectacular movie (do not expect any Rambo or Robin Hood) shows us rigorously and austerely the everyday of the French Resistants : their solitude, their fears, their relationships, the arrests, the forwarding of orders and their carrying out... Both writer Joseph Kessel and co-writer and director Jean-Pierre Melville belonged to this "Army in the Shadows". Written by Yepok

Plot Summary | Add Synopsis

Genres:

Drama | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

|

Language:

| |

Release Date:

12 September 1969 (France)  »

Also Known As:

Army of Shadows  »

Box Office

Opening Weekend:

$12,620 (USA) (28 April 2006)

Gross:

$741,733 (USA) (20 April 2007)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Sound Mix:

| (2006 restoration)

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

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. See more »

Goofs

In the London WWII sequence, we see double yellow lines on the road. These were only introduced in the UK in 1956 and didn't become common until the 1960s. Same goes for a couple of the street signs, of a style not known before the 1960s. See more »

Quotes

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

Connections

Featured in A Private Affair (2002) See more »

Soundtracks

Symphony No. 41 (Jupiter)
(uncredited)
Music by Wolfgang Amadeus Mozart
See more »

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User Reviews

 
aside from his later crime films, this is Melville at his best, and usual challenging self
7 May 2006 | by (United States) – See all my reviews

Jean Pierre Melville, writer/director of Army of Shadows, has said in interviews that the book of which he based his movie from is considered THE book on the French resistance in the second world war. While I can only speculate as to this film being THE film of its category, as I've yet to see other films on the resistance, it sets quite a high standard for painting a very calculated, perfectly cool (or cold on your POV) piece of film-making on the subject. It's basically as if Melville, having lived through the period- this being perhaps an even more personal film than his other crime films- still takes on some of the true knacks of what he does in the rest of his oeuvre. Taking characters who go by codes of loyalty, professional as can be, and in a true underground in society. However this time their opponent being the Germans instead of the police the stakes are raised. Even as a couple of parts in the middle seem to shake with the deliberate pace Melville sets a couple of times, the main core of the story and the characters is remarkable, and honest in a dark, bleak way.

Lino Ventura is at his best as Gerbier, a main man in the French resistance movement, who gets more involved in the proceedings following a brief prison-camp stint (the escape from which is one of the most daring in any film). The film is fairly episodic, however encompassing a group of the resistance people, including Mathilde (Simon Signet, very good as always), Le Masque (Claude Mann), and Jean-Francois (Jean-Pierre Cassel, at a peak as well in his own way). Some of their operations are simple, like retrieving weapons or finding more support through certain channels. Though here and there some payback is in due to the traitors. This becomes a higher issue as the film rolls into its final act, as alliances come into question, and the real ties of humanity together are tested in the midst of the German occupation.

As usual with Melville all of this is told, in its own way, fairly simply- almost clinically- by Melville's camera. There are some zooms here and there, some very intense camera positions (though not awkwardly), and exciting when need be. At the same time, there are some scenes like a short scene on a beach (all blue) or a few others at night or in different lighting modes that are the best Melville's done in the midst of a color scheme used perfectly to correspond with the mood; it works just as well if not better than how he uses it for his crime films. But one of the pleasures of seeing a film like this by a real kind of maverick of European cinema is seeing how much room he gives for his actors. These are not performances that become over-sensational in the slightest. On the contrary, what adds sometimes to the tension in some of the scenes, or the outright tragedy, is how the actors just play as they do professional-wise, sometimes with what's not said meaning more (and how the Melville gets these quiet moments is fantastic). Featuring a superlative musical accompaniment by Eric De Marsan, this is one of the best directed anti-war films ever made.


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what a way to spend a resistance vramesh
Women over 45 really hate this?!?!? vailrulestheworld
Gerbier's Escape from Interrogation DrNick1
Why did Felix not want to wear the bowler hat? ozma-of-oz
This film was suprisingly moving... Goldmund1710
Great Movie, But............... Berdowns2
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