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Army of Shadows (1969)

L'armée des ombres (original title)
Not Rated | | Drama , War | 12 September 1969 (France)
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An account of underground resistance fighters in Nazi-occupied France.

Writers:

Joseph Kessel (novel), Jean-Pierre Melville (adaptation)
4 wins & 1 nomination. See more awards »

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Cast

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

France, 1942, under German occupation. Philippe Gerbier, a civil engineer, is a French Resistance commandant. Denounced by a French collaborator, he is interned in a concentration camp. He manages to escape, and rejoins his network in Marseille, where he has the traitor executed. This movie reveals rigorously and austerely what life was like in the French Resistance: the solitude and fear of its members; their relationships with one another; the constant threat of arrest by the Gestapo; the Resistance command structure and the way its orders were carried out. Head writer Joseph Kessel and co-writer/director Jean-Pierre Melville were both veterans of the "Shadow Army". Written by Yepok

Plot Summary | Add Synopsis

Taglines:

Betrayal. Loyalty. Collaboration. Resistance.

Genres:

Drama | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Rialto Pictures

Country:

France | Italy

Language:

French | German | English

Release Date:

12 September 1969 (France) See more »

Also Known As:

Army of Shadows See more »

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Box Office

Opening Weekend USA:

$12,620, 30 April 2006, Limited Release

Gross USA:

$741,766, 26 April 2007
See more on IMDbPro »

Company Credits

Production Co:

Les Films Corona,Fono Roma See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono | Dolby Digital (2006 restoration)

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

During the shooting of this film, Lino Ventura and the director Jean-Pierre Melville did not speak to each other. They only communicated through assistants. 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 Broken English (2007) See more »

Soundtracks

La Lettre Anonyme
Written and Performed by Orchestre Éric Demarsan
See more »

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User Reviews

 
Recommended-now if only Bush, Blair et. al. could only see this they might learn something about patriotism
28 March 2006 | by max von meyerlingSee all my reviews

Today, watching a film like Mr.and Mrs. North (2005) or one of the Bourne or Mission Impossibles or any of the current crop of 'action' films up to and including the latest Kung Fu spectacular with invulnerable flying fighting machines, seems to have rendered the genre into a profitable degeneracy rendering the depiction of actual human beings or their cinematic similitude obsolete as cave paintings. That anyone could be entertained by the goings on of a Charlie's Angles movie puzzles me. I do know there is no audience for a genuine film detailing the lives and works of a genuine underground resistance like that of the French during the German Nazi occupation.

This might be the most mundane, matter-of-fact war movie since Robert Montgomery's overlooked masterpiece The Gallant Hours. This is because the people, patriots all, who rose to fight, were pretty ordinary people from rather prosaic walks of life. When it come to resisting a foreign tyranny in the form of an occupying army it isn't a bunch of professionally trained assassins who can be counted on but politically aware citizens who organize. These are ordinary people who had to rise to a situation. It is pure Existentialism.

This is a very spare, almost Jansenist version of the true story of the French Resistance. This Melville is, as usual, the opposite side of the coin from his twin, Robert Bresson. At one point the central character played by Lino Ventura, escapes by simply running away. He is helped along the way by a man who doesn't even mention the situation or his role in assisting. Its just done because that is what one does. The German's are hardly seen as this film is simply not about them. Each death, there are very, very few of them, is a moral and ethical agony. At least for the resistance. The torture scenes are all off camera.

Directoral moments are minimal, such as when Ventura buys a new suit and shoes and then must leave them behind. Its like what soldiers say about combat, extreme longueurs of boredom interrupted by moments of sheer terror.

The truth behind the story is that the German Gestapo commander, Klaus Barbie, the so called Butcher of Lyon, was a war criminal who was spirited out of Europe after the war by the US to train military regimes in South America in the techniques of torture that he perfected in France.

In one of the set pieces British STOL Lysander aircraft land to and take off to bring certain resistance members to London. This scene features the actual aircraft. This was particularly amazing as most Melville films suffer from budgetary constrictions which usually effect the realism of certain scenes (see the helicopter/train transfer in Un Flic) and there were possibly only two airworthy Lysanders at the time of the filming of L' Armée des ombres. The parachuting scene is also so nicely judged in its almost prosaic ordinariness, yet we know its still a jump into the seemingly limitless darkness, but which would aggravate the ADD generation. The dry, almost Islandic renderings of scenes, sometimes to the level of an Industrial film, reminds me of the flat rendering Truffaut did of simply fueling a car at a service station in Le Peau Douce. This is why Melville and Bresson were the honorary mentors of the New Wave. It was a further adaptation of Realism and neo-realism but with an awareness that at all times it was a film and therefore an adaption of reality but distorted only to make the truth more vivid.

It is a pity if, as I think, this film will fail to connect with a generation saturated on the super hero shenanigans of SFX dare-a-doings. One writer pointed out the ridiculousness of someone deliberately sending himself to prison in order to deliver a cyanide capsule, totally discounting true sacrifice for the type of action where the pretty actors manage to survive almost any cataclysm so that in the end, after the death of countless nameless and faceless minions and the elimination of the satanic villain-in-chief, while ankle deep in gore, they can have a nice chuckle. Hey babes, that's entertainment.

Looking at the restored version of L' Armée des ombres just emphasizes the death of film culture, not because there are no writers and directors who can make films like this but because there are no audiences for films like this. Highly recommended.


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