Les grandes manoeuvres

I'd seen only the great films from the 30's by this director, before enjoying this first color film from 1955. It is a light work with some sombre undertones from the military setting: we are after all in the summer of 1914, and the gallant young officers will soon be facing the terrors of the Great War. Clair reminds us that this world has vanished into the mists of time by the careful use of pastels--lavender, gray, pink--and by the camera receding into the distance: you hardly ever see a close up, most shots are long or medium. Leon Barsacq did a wonderful job as production designer; this is one of the best designed films I can remember seeing from this period.

Gerard Philipe is the best Armand you could wish for--he's brave and skilled as a soldier and incredibly immature as a man. The idea that you can carry on affairs with five women at a time is no more than a logistical problem for him. Michele Morgan plays her part so well; she's got to be mature and responsible (she's a divorcée, and hasn't been long in this town). Her heart is pulling her in a direction her mind doesn't want to go. Jean Desailly reminds me once again that he's one of the finest French actors: his Victor isn't a stuffy bourgeois, his heart is with Marie-Louise and he knows what a formidable opponent Armand is. Also he's got to combat the closed minds around him, notably his sisters.

Les Grandes manoevres can be compared to Rules of the Game, and if the Renoir classic is greater, it's because Renoir was dealing with more profound themes. I was engrossed in the story of this garrison town just the same.

One shouldn't be dissuaded from seeing this film because of one disappointed viewer. It is a charming and beautifully crafted film, not often seen in the U.S., but well worth watching. It is very Gallic in its attitudes, which means that it has a certain amount of gallantry, chauvinism, sexism, and a plain, old-fashioned outlook on the sports of love, but it refuses to be pinned down to a formula, or to have a pat ending. I find it ever so much better than Clair's earlier work, and if you can shift your mental gears to the French way of thinking, it is a very rewarding, bittersweet film.

This is one of the most finely crafted films of cinema's short history. Period atmosphere, costumes, sets, indoor and outdoor photography, pacing and editing are all superb. The music by Georges Van Parys is poignantly nostalgic and at the same time entertaining and light. The biggest attraction of this film, though, is the wit of its script, which could rival any comedy of Shaw or Wilde or Colette, and top them all for sheer virtuosity in the art of depicting the many faces of love, and its delivery by one of film history's most finely cast troupe of comedians. `Les Grandes Manoeuvres' is ostensibly a Gérard Philipe vehicle, full of his inimitable monologues, which lets Michèle Morgan do what she does best: suffer coldly, remotely, nobly, silently and elegantly. It is peopled by actors the likes of which this planet has rarely seen brought together, namely Jacqueline Maillan and Lise Delamare as Jean Desailly's wicked, two-faced, possessive sisters who marry the feline elegance of beasts of prey with the evil but colourful personality of Walt Disney's Cinderella's wicked stepmother. It features some of the most beautiful women of the planet: Morgan, Bardot, Dany Carrel, Magali Noël. The men are also physically and mentally highly idealized. This film is rarely shown and therefore largely unappreciated. It is only available on DVD in a pristine transfer in French only on a Brigitte Bardot boxset from Quebec (imavision.com) comprising seven films of various worth ranging from this unqualified masterpiece to more lowly efforts to Fellini-Malle-Vadim's `Histoires extraordinaires'. This film is so good it is probably worth learning French to understand all its subtleties and absorb its unique charm. It makes all of René Clair's preceding efforts, even the most poetically imaginative like `Beauties of the Night', look like immature doodles or preliminary sketches.

Ironic indeed that one who was once considered a 'pioneer' should come to be regarded as 'old-fashioned'. Craftsmanship is timeless of course so let us salute and applaud that of Rene Clair. The undeniable elegance of this film is inclined to rob it of its depth and makes the comic element more effective than the tragic but that is a minor criticism. There are after all so many things to enjoy: the sumptuous colour, splendid settings, gorgeous costumes and enchanting performers the likes of whom are gone forever alas. Michele Morgan is beautifully understated whilst the inimitable charm of Gerard Philippe succeeds in making his 'cad' sympathetic. Jean Desailly makes the most of a thankless part and hard to believe that a year later Bardot would be strutting her stuff in the risible 'And God created Woman'. A captivating film from one whose creative talent has added sparkle to our rather lacklustre world. Merci bien Monsieur Clair.

I admit, I was not very big in this film for the most part of it. But hey, is very good from a visual standpoint. We have very unexpected angles and a weird set of lights. Look at how messy the lights are in this film. It helps even more to put focus in the characters. In fact, it alone put a focus in the characters, because they become darken than the set's natural light. And the plot is kinda ugh, you know what I mean? Very cliché. Sure, back in 1955, this kind of 'Guy wants to date girl because of bet with friend" must have been interesting and very original, but nowadays? Not very much, if you ask me. Maybe this is the film that started all these clichés? Well, I don't know, further research is welcomed. But anyway, the editing, the transition of scenes is very crazy, and certainly a very good technique aesthetically talking. This technique alone can change completely the film's ambient.

Is kinda interesting and even funny at times, but yeah, for the most part there is nothing that you already haven't seen before made much better than in this film.