Patrie (1946) User Reviews

Chimes of freedom

[dbdumonteil · 7/10 · 22 February 2009]

Although it happens in Flandres ,in the sixteenth century,it is actually the occupied France in WW2.During that period,the directors had to find their inspiration in the past as was so often the case with their movies of that era (Carné's "Les Visiteurs Du Soir" ).In 1945,France was a free country again,and there was no more reason to "conceal" the message;the directors,especially René Clément, made no bones about it ("Le Père TRanquille" )

Oddly,"Patrie" (=homeland,the title is revealing) is about a Flemish abortive attempt to free themselves from the yoke of their oppressors,the Spanish.The Flemish as the French,the Spanish as the German,and a beautiful woman as a collaborationist .

Pierre Blanchar is the leader of the rebels ,his mission is to help Guillaume d'Orange get into the town and come to power;but alas ,his best friend,Carlo (Jean Dessailly) ,is his wife's lover and she is not prepared to see her love sacrificed for the sake of the country .

This is a really good drama in costume ,with lots of courage,cruelty,treason,and a grandiose finale.

Louis Daquin 's way was very special: in "Nous Les Gosses" (1942) he put his trust in the future ,then flirted with the Vichy ideology ("Le Voyageur De La Toussaint",and mainly "Premier De Cordée") before celebrating the resistance.

Like this?try this.....

"La Kermesse Héroïque " Jacques Feyder ,1935

The eternal struggle.

[brogmiller · 8/10 · 4 September 2020]

The plays of Victorine Sardou have provided excellent material for operas notably the'Tosca' of Puccini. His play 'Patrie' was also turned into an opera but is, to my knowledge, never performed. When Sardou wrote his play in 1869 about sixteenth century Flemish attempts to break free from Spanish oppression he could not have foreseen how timeless it's theme would become. One year later marked the first of three occasions when the French suffered humiliating defeats by the Germans. A silent film version was made during the First World War and this version of 1946 could not fail to resonate with a people that had endured five years of Nazi occupation. Adapted by Charles Spaak with dialogue by Pierre Bost this has all the makings of a powerful drama and so it turns out to be. Both director Louis Daquin and leading actor Pierre Blanchar had by all accounts been involved in Resistance activity. Blanchard's rather subdued, austere style of acting and his innate nobility of manner make him perfect casting for the role of the Comte de Rysoor who leads the ill-fated insurrection whilst delicious Maria Mauban, making an assured film debut, plays his wife whose act of betrayal and subsequent fate echoes that of many collaborators. Nice to see a young Jean Desailly in his second film for this director as Rysoor's lieutenant who is 'condemned to live' and as a prelate the excellent Louis Seigneur is as always good value. His character serves to remind us of the historical moral ambiguity of the Catholic Church. Great sense of period here, splendid cinematography and a beautifully understated and well-employed score by Jean Wiener. Initially this film is pretty low-key but slowly builds to a tremendous and devastating climax. A first class film and arguably Daquin's best.

La Kermesse horrifique

[kinsayder · 18 October 2010]

The Spanish occupation of Flanders had already been the setting for Jacques Feyder's wonderful comedy "La Kermesse héroïque" of 1935. A decade later, there was not much comedy to be found in the subject of enemy occupation, and Louis Daquin's "Patrie", about a resistance movement to expel the invaders, has an altogether more serious and darker tone. It deals with persecution, summary execution, betrayal and collaboration, heroism in the face of death, and above all the hope of liberation and the sense of menace that might crush it at any moment. No Frenchman in 1946 could have had any doubt that he was watching a film about recent events in his country.

The correspondence between Pierre Blanchar's band of patriots and the French Résistance is so emphatic that one wonders why Daquin even felt the need to step back in time four centuries to tell this story. There was no longer an interdiction on films dealing directly with wartime events; nor does the historical setting throw any greater light on those events (as Arthur Miller's allegory of McCarthyism in "The Crucible" does, for example). Perhaps Daquin's point is simply that "There is nothing new under the sun".

Allegory aside, "Patrie" is a gripping drama that builds to a grim but stirring conclusion. Pierre Blanchar, tight-lipped and fierce-eyed, is the embodiment of suppressed fervour. Jean Desailly and Maria Mauban, as the lovers whose relationship threatens to undermine Blanchar's resistance movement, give intelligent and subtle performances. There is an excellent supporting cast (notably Louis Seigner as a wily prelate) and Daquin's unhurried, attentive direction shows them to advantage.

The use of music is interesting in "Patrie". The opening credits roll to a melody on church bells which, we soon discover, is a symbol of the resistance and the signal for the army of liberation to attack. The melody is taken up in various forms throughout the film until its dramatic use in the final scene.