J'accuse

I wish that we could read a comment from at least one of the 91 persons who gave a "1" rating to this silent film masterpiece. What were these 91 thinking? Do they hate all silents? Did they object to the length? If "J'Accuse!" is a "1," why did they suffer through its almost three-hour duration? If they gave up watching after 10 minutes, why bother to vote and muck up the weighted average, now standing at an absurd 6.4? Thank you, Turner Classic Movies, for making "J'Accuse" available to a wide audience. That network is most capably helping fill the void left by the shutting down of most of America's repertory film theaters.

J'Accuse! (1919)

*** (out of 4)

The French masters 166-minute epic tells the story of two soldiers, Francois (Severin-Mars) and Jean (Romuald Joube), both in love with the same woman but she is married to the much older Francois but has an affair with Jean. This is very impressive film from French director Gance but I think it falls short compared to his two classic epics that would follow this one. I think this films biggest problem is its running time, which seems a tad bit too long especially a few of the talking scenes, which run on and on. On the technical side this film is nearly flawless with Gance taking the influence of Griffith and really pushing it to a new level. The most impressive thing in the film are the amazing war scenes, which are downright brilliant and they really make you feel as if you are a part of the action. The scenes with the men in the trenches contain some great atmosphere and the sense of dread runs throughout these scenes. The most famous sequence in the film, and in film history, is the "March of the Dead" sequence, which takes nearly twenty-minutes and comes towards the end of the movie. This is certainly one of the most eerie and haunting sequences in film history and the main reason this anti-war film is still remembered today. The way Gance points the finger at the folks who weren't in the war and either living it up having fun or making money off the war, comes off very creepy and the message is certainly right there on the screen. The effects used to show the dead walking are very well done and the atmosphere here is so thick that you'll feel as if you can feel them walking towards you. The performances are all very good with Mars and Joube really sticking out. As I said, I think the film runs a tad bit too long but this is still a very impressive film with one of the greatest sequences in film history.

The only attempt to make a peace film during the war was in France, by the great Abel Gance...

'J'accuse' is almost as large in scope as 'Intolerance'. The director said that: 'It was intended to show that if war did not serve some purpose, then it was a terrible waste. If it had to be waged, then a man's death must achieve something.'

"J'accuse" is a triangle story of Edith (Marise Dauvray), her husband François Laurin (Severin-Mars) and Jean Diaz (Romould Joube), a poet who is in love with Edith... The three, however, are puppets in the hands of war...

Edith is taken captive and returns with a child... François and Jean... Well you have to see the film!

All this now seems excessively melodramatic and not entirely impartial, but visually "J'accuse" is an extremely powerful film and it certainly had an impact on contemporary audiences...

The film was remade by Abel Gance in 1937 in an attempt to warn against the impending World War II...

With the French losing almost one and a half million soldiers during the Great War, some of France's citizens deliberated whether the great cost in lives was worth the loses. Included in that group was Abel Gance, who wrote and directed the first anti-war movie in cinema, April 1919's "J'Accuse." The film, graphically displaying the carnage that took place over four years in his home country, was an instant classic and was heralded worldwide as accurately describing what shocks civilization sustained from 1914-1918.

A bout with tuberculosis decided Gance's fate in the war when, after being drafted into the French Army, he was shortly discharged for the illness. During the tail end of the war, after hearing the sad stories from his friends on the Western Front, he yearned to produce a movie about the trials they went through--as well as those of civilians far behind the battle lines. He received funding from Pathe, which became surprised at Gance's astronomical final production costs. But in the end, the box office success throughout continental Europe as well as D. W. Griffith's, who had viewed the film and was so impressed by it, control of its lucrative United States distribution, the film studio made an enormous profit from "J'Accuse."

To give the movie its authenticity, Gance re-enlisted in the French Army in its Section Cinématographique and filmed portions of the September 1918 Battle of Saint-Mihiel with the United States Army. His footage interweaves with other portions in the last third of "J'Accuse," which focuses on the front lines of the war.

As critics have pointed out, the first two-thirds play out as a melodrama, introducing the main protagonists, two men vying for the love of Edith, who is married to one of them, an abusive, jealous husband. The poet, who can be Gance in disguise, is the other, a pacifist who has been discharged from service due to illness. Ask if "J'Accuse' is more a pacifist film than an anti-war one, Gance replied, "I'm not interested in politics... But I am against war, because war is futile. Ten or twenty years afterward, one reflects that millions have died and all for nothing. One has found friends among one's old enemies, and enemies among one's friends." The two love interests of Edith end up comrades on the front when the poet re-enlists. Several sequences in that last third of the movie stick in viewers' minds: the soldiers, during a lull, write letters to loved ones at home (these are actual letters written by battle-hardened soldiers); the phantom of death walking among the soldiers preparing for an assault; and the recreated hand-to-hand encounters between the two opposing armies.

The "J'Accuse's" highlight, and the one studied in film schools today, is the "March of the Dead" sequence towards the film's conclusion. Gance was able to get two thousand French soldiers on leave to volunteer their time in acting as corpses from the battles rising from the ground. In what can be technically termed as the first depiction of zombies walking among the living (except these dead aren't the flesh-eating ones), "L'Accuse" shows the soldiers walking to the local village where they judge whether their death was worth their ultimate sacrifice. Hearing about a few scattered profiteers who unscrupulously made large sums of money from the war, these soldiers deliberate on the villagers' fates. Gance noted that out of the 2,000 soldiers in the film returning to the front, 80% became casualties in the last months of the war.

Film historians claim Gance's "J. Accuse" was 10 years ahead of his time with his unique lighting illustrating the French Impressionistic moods of delving deep into the emotions of the movie's characters, and his use of mobile camera movements. The financial success of the 1919 film allowed the director to produce even more ambitious movies in the future such as 1923's "La Roue" and 1927's "Napoleon." Gance even made an later talking film called "L'Accuse" in 1938, warning on the tensions developing as a prelude to World War Two.

Abel Gance in my mind was a pioneer of not just French cinema but cinema in general. All of his work is well worth the look and are visual and technical marvels, some of the techniques being one he pioneered. Some of his best works, 'Napoleon' being one of them, are revolutionary in not just silent film but also film of all kinds and are towering achievements. Is his work for all tastes? Not all, tending to be very long and sprawling with a lot of patience required.

'J'Accuse', released at a time where the First World War had just ended and where feelings were raw, is another great, near-masterwork, work of his. Not quite the towering achievement that is 'Napoleon' for example, but there is more than enough to show off what made him so great and important. Whether one likes it may be dependent on their opinion on war films, personally appreciate them a lot and while not one of my favourite war films (i.e. 'All Quiet on the Western Front') it is a genre milestone and important. It is still incredibly haunting and moving.

Maybe it does run a little too long, but overall 'J'Accuse's' emotional power and technical brilliance cannot be denied.

Visually, 'J'Accuse' looks amazing. Not just for back then, but also then. The editing is not as "unlike anything seen before" quality like the innovative editing in 'Napoleon' was, but it is still very fluid and the transitioning is practically seamless throughout. The sets are also beautiful to look at. The standout visually and technically though is the magnificent cinematography, very audacious with some very interesting and beautifully composed techniques. Also with some beautifully poetic shots in the more emotional moments. The music is haunting and fits well, not over-bearing or over-dramatic or sentimentalised.

Gance's direction is near-triumphant and superbly controlled. The story is still hard hitting and poignant and the message still resonates without preaching or being muddled. The war scenes are bold, wrench the gut and brought a lump to the throat and the long final scene is unforgettable in its eeriness and emotion. The acting is very good, not static or theatrical, while the characters were ones worth connecting with.

Overall, excellent. 9/10.