Le petit soldat

Bruno's compromised, his treacherous position, now there's those who'll make profit, at their volition, to encourage him to shoot, will not entertain dispute, until he's satisfied their will, completed mission. Veronica proves to be, quite a distraction, causes Bruno to evaluate his fractions, as the other side entrap, chain his wrists, to the bath tap, while using torture as their primary transaction. Then a chance to land back in the ladies arms, of the mission he can't have, any more qualms, but subversion has its day, the couple go their separate ways, it's hard to think that Bruno, remained very calm.

I just saw this film for the first time on TCM. I was appalled to see that there is no video available, nor has Maltin written a summary. Now I regret not having taped it, and hope it will be shown again.

This film, Godard's second at feature-length, was made in 1960. It was subsequently banned by the French government and not commercially released until 1963, when the war in Algeria was over and Algeria had gained its independence. It is sometimes difficult to recall, 41 years after the fact, that the Algerian conflict was then tearing France apart and, had anyone but a WWII hearing like De Gaulle been in charge, probably would have led to civil war.

The lead character is a somewhat reluctant and half-hearted member of a right wing terrorist group, opposing Algerian independence, planning assassinations and tortures of members of left wing terrorist groups supporting Algerian independence. Godard demonstrates that there is really no difference between the two, that they are both morally bankrupt and ultimately nihilistic. Members of both groups are shown with remarkable objectivity--remarkable if you know Godard's own political leanings, which were far to the left, Maoist in fact.

Stylistically the film has a documentary, cinema verite feel. Godard used hand held cameras decades before they came into vogue. The characters seem real, so much so that, except for the beautiful Anna Karina, it is necessary to remind oneself that these are actors.

By the way, probably very few viewers, except those who may have been in France at that time, will know the significance of a scene where, several times in succession, several cars blow their horns "ta ta tum, tum tum." That was a very public code that existed in France at the time and stood for "Algerie Francaise," or. loosely, "Keep Algeria French." A very topical film.

Bruno Forrestier (Michel Subor) is a 26 year-old Frenchman working in Geneva with links to extreme-right terrorists. Set in the background of the Algerian war, he cannot return to France as he has deserted but cannot remain in Geneva, where two terrorist groups suspect him of being a double-agent and shadow him menacingly throughout the film. Common to Godard films such as A bout de soufflé and Peirrot le fou, there is a palpable sense from the beginning that Bruno is living on borrowed time, so the action takes on a certain urgency within this shadow of danger. This is contrasted by the serene filming and narration, which evokes calm and certainty. Godard uses over-narration from the beginning, creating a sense of certainty with regard to the action, although distorting the viewer's perception of time, especially when the two at one time merge together. At the same time, the intensity of danger is capitalised on by the heavy use of close-ups of the characters, who are all stylishly dressed in suits and driving American cars. A hand-held camera is also used to bring the viewer even closer to the action and, we feel, to understanding the motivations of Bruno in what remains a highly political film. The viewer is kept on his toes by the inconsistent length of sequences, ranging from very long and intense (in apartments) to very short and spontaneous (mostly with moving cars). Godard cuts mercilessly between scenes which are only tenuously linked by the storyline and, in order to create a contrast, will not explain this with the narration but with the continuation of action in the film (to which the viewer must then stay gripped). With the cars, the clothes, the editing, the hand-held camera work and the use of close-ups and over-narration, the film is a pioneer of Nouvelle vague cinema, having been made before A bout de soufflé (1960), but banned in France until 1963 due to its political commentary. Ironically, these techniques create such an intense relationship between the screen and the viewer that the presence of politics is of secondary importance to the desire to understand each character and find out whatever little you can about them. In these ways you are drawn in and remain gripped to the film.

(Flash Review)

This film's approach, part of the French New Wave, was fresh for the time but it fails to deliver a cohesive impact. The two key characters are both part of terrorist groups involved with the Algerian war. The man with a right-wing group and the woman with the left-wing group. They unconvincingly fall for each other during a phony-feeling and rambling photography session scene as he poses as a photojournalist and talks about one's defending ideas not physical territories. As that plays out this guy also needs to assassinate someone yet isn't a true professional so lacks the nerve to do the job. Because people he associates with continue to see him fail they think he is a double agent and lose faith in him and subject him to torture. This film was originally banned for the torture scene yet today feels non-threatening and fake. This didn't work for me and what's the deal with all the painter Paul Klee references?

This film is generally regarded as the sole clunker from the period when this great director was routinely hitting em out of the park, a span from 1959 to 1966 or, if you need it put less abstractly, from "Breathless" to "Masculine Feminine". The main problem with it is that this most soberly realistic of Godard's films is also one of his dullest and I do not think it is coincidental. Godard is at his best with tongue firmly implanted in cheek and the humor, like good Gallic coffee, copious, strong and black. Also madcap and more than a bit off center. Conversely, in this Cold War political movie I did not laugh once. And a political Godard without his trademark mordant humor, zaniness or quirkiness is like Fritz Lang or Carol Reed on a bad day. If I want serious films about the Franco/Algerian conflict then I'll watch Pontecorvo, for cryin out loud. C plus.

PS...I also think that when a Godard film is not set in Paris, as this one is, then there is a palpable sense of loss, ("Contempt" honorably excepted).