Beau travail

Djibouti sets the scene for this engagement, a foreign legion overseas, on an assignment, lost souls follow traditions, rocky roads fulfil their missions, as the sun beats down and ferments discontent. Galoup has taken aim at Gilles Sentain, the reasons personal, full of disdain, it leads to tension and dissension, abhorrence propagates expulsion, a futile battle, a ridiculous campaign.

In all walks of life people don't get on, or someone despises another for reasons only fathomable to them, but it's only in certain professions, with the mind-sets they promote, that the outcomes can be so devastating and despicable. Often a tough watch, you may ask yourself what lengths you might go to if the opportunity presented in a similar scenario.

The confrontation between. Galoup and Sentain is the axis of this film about a mithological Foreign Legion, enveild in trainings, ordinary activities, a shower scene and fun in club, a story of love, with some bitter tones, a confession about antipaty of a superior against a legionary, few beautiful poetic scenes .

And , sure, well performance of. Denis Lavant, proposing a fair portrait of deep loneliness, frustrations, envy, routine.

In strange manner, the realism is basic virtue of this very slow film , a realism discovered , maybe, especialy by people out of army.

A poem about mainhood, it is a good kick to reflection about relations and hidden demons, power and suspicions.

As a 10 year veteran of the Marines during peace time, I loved how this movie captured the often times dull, daily routine of military life. The scenes of the legionaires meticulously ironing their uniforms, training, exercising, were very accurate and brought back a lot of memories. To some, these scenes may seem boring and belabored but I found them mesmerizing and wishing they would last longer. I also feel she somewhat captured the sometimes complicated feelings of love, hate, respect, jealousy, etc. of men living together in a military environment. Robert Ryan did a better job at being hateful in the movie "Billy Budd" than Lavant does here as Galoup. I saw him as more a tragic figure and ended up feeling sorry for him. Sorry because he ruined a life that he loved. The movie was visually beautiful. I was somewhat confused, if not fascinated, by the dance scene at the end. What does that signify?

Going against the trend of reviews here, as is usual for me, I loved this film. Perhaps only another outsider can see how brilliantly Lavant acts the outsider. He is a jealous outsider, jealous of Sentain. He is jealous of him, not in love with him and there is a difference. Galoup (Lavant) truly loves Forestier, but as Galoup points out, Forestier doesn't care. Instead, when Sentain appears, Forestier is attracted to him in a way he was not to Galoup. Well, Sentain is charming, calm, open, attractive, all the things Galoup is not. Sentain is one of the gang, Galoup is an outsider and no matter how hard he tries, he cannot get in. Much of the film is dialogue free, but Lavant admirably shows what he is feeling with his facial and body gestures. And after all that falls out from this jealous rage, Galoup is returned to France but still remains an outsider. No friends in the Legion, nor out of it. And the finale, Galoup dancing by himself in a very contorted way, is one of the most agonizing I have seen. It represents well what Galoup's life is like. You should not see this film if you are looking for a homoerotic experience. It is not about sexuality, but the rage of an outsider. As such, it is brilliant.

"Beau Travail" uniquely provides a woman's eye, director/co-writer Claire Denis, on the movie genre of taut men in groups, peace time military subset, with much less profanity or crudeness or misogyny than is typical.

The camera loves looking at all these half naked, trim, fit young men, as they are seen over and over in all kinds of repetitive physical exertions, from the usual military obstacle courses to martial arts exercises that look like tai chi, to ones that seem like yoga and then banging against each other. (Surely these images must have influenced the later directors of "Tigerland" and "Jarhead.") It is amusing to see them busily ironing clothes in order to get the required creases in their uniforms. I haven't seen such a sensual scene of men ironing since Kevin Costner in "Bull Durham."

The narrating sergeant "Galoup" is the usual strict bully, punishingly competitive in all these exercises. But I completely missed that the film was an adaptation of "Billy Budd" until I saw the closing credits that referenced the Britten opera on the soundtrack because the object of his attention, "Sentain," doesn't seem like a helpless victim.

Unlike all movies about the duress of basic training and keeping enlisted men in line, the story is not from the point of view of this victim, but is told as a flashback by the sergeant with lots of references to what is lost and found (we hear "perdu" and "trouve" a lot though some is lost in translation as idioms are poorly translated in the subtitles, such as of sang froid).

The sergeant seems out of "The Bridge Over the River Kwai" school, setting the under-employed Foreign Legionnaires posted on the coast of Djibouti to work repairing deserted roads and literally digging holes in the desert to work out his frustrations.

The orphan just gets under his burr until he intentionally provokes him to the limit. It is certainly not clear what it is about him that annoys the sergeant. His lean beauty? His casual heroism? Even if there's some conflicted homosexual urges, and the sensuality of the local African environment and music are continually emphasized, amidst the homo-erotic subtext, the sergeant clearly has the hots for a young local woman.

We don't get to learn much about the individual Legionnaires. The commandant, the crusty Michel Subor, is comfortable as a career soldier and, surprisingly in this genre, does support a sense of fair play and justice, as symbolized by his chess playing. He keeps insisting the men are no longer Russian or African but now are loyal to the Legion (as we keep hearing the anthem over and over). There is some grudging tolerance of the exoticism of diversity, even as the Muslims are teased during Ramadan.

Even as viewed on video tape, the setting and contrasts in Africa are beautiful – from the desert to the sparkling bright ocean, but the narration is annoying, even as it ties together the memories of regret.

The music is very evocative of the setting. The curving sensuality of night time African dance clubs and the women dancing is contrasted with the formality of the men's exercising. So I think in the conclusion the sergeant is finally trying to integrate all his experiences to the tune of "Spirit of the Night."