Lacombe Lucien

Lacombe Lucien is an understated yet complex story of innocence corrupted by war. Though commercially successful, the film was judged harshly in France by critics on the Left because of its non-judgmental stance toward collaboration. Indeed, the film offers no psychological interpretations but is content to simply show what happened in almost Bressonian fashion (Malle worked as an assistant with Bresson in producing a documentary).

Based on the childhood memories of Louis Malle, Lacombe Lucien tells the story of Lucien (Pierre Blaise) a rural French teenager who, having been rejected by the French resistance in 1944, joins with the German occupiers and becomes an enforcer. It is brilliant in its understated portrait of how self-interest and pride can lead to regrettable choices.

Lucien lives with his mother together with another man while his father remains a prisoner of war. With limited education and lacking sophistication, Lucien is angered when his desire to join the underground is rejected because of his youth. Instead, he opportunistically becomes a member of the German police and soon takes on the persona of a surly thug. Malle makes clear that Lucien is neither fundamentally good nor bad, but only becomes involved with the Gestapo through a series of accidental circumstances. Though the film implies that Lucien is attracted to the Gestapo as a means for an individual without status or power to achieve a sense of self worth, ultimately Lucien must take responsibility for his choice.

He becomes involved with Albert Horn (Holger Lowenadler), a wealthy Jewish tailor from Paris, his mother Bella (Therese Giehse) who has lived in an Eastern European ghetto, and his young daughter France (Aurore Clement) who is totally Parisian and uncomfortable with her Jewish heritage. Their relationship becomes the turning point for Lucien's struggle to come to grips with who he is and retain his humanity. Though I felt repelled by Lucien's actions during the film, I also sympathized with his plight and understood the circumstances that led to his corruption. I felt he was moving toward self-awareness before the end of the film.

Lacombe Lucien poses moral questions about the point that innocence and immorality meet, and with its almost matter-of-fact style, the powerful conclusion almost takes us unaware. I found the film to be gripping and heartfelt and I would strongly recommend it. Pierre Blaise, in his first acting role as Lucien, turns in a performance of raw power. Unfortunately he was killed just one year later in an auto accident at the age of 24.

Of all of the hundreds of foreign films I've seen through my 42 years, one has stood out in mind – a film I first saw in 1979 and again in 1980. "Lacombe, Lucien," director Louis Malle's searing, powerful film of innocence lost and how power corrupts, is one of the great films in French cinema. That the French themselves criticized the film on its initial release is amazing. That this film has gone for so long without a proper DVD release is unforgivable. The drought of its release to home video is about to end. The Criterion Collection is releasing "Lacombe, Lucien" as part of a three film box set retrospective on Mallle's French films ("Au Revoir Les Infant" and "Murmus of the Heart," two great Malle's features in their own right). "Lacombe, Lucien" also will be available separately by itself. Either way, modern American audiences will finally be able to see this film. And they won't be disappointed. Malle's film tells the story about a young French boy who joins the Nazis and snubs the French Resistance during the German occupation of France. From the powerful performances all the way to Malle's meticulous production design that beautifully recreates period France, this film is unbeatable. As much as I enjoy watching Truffaut films, nothing compares to the genius of Malle. From his French films to his American productions, Malle truly was a genius of the cinema. I suggest you buy the three-film retrospective. Or at the least, but "Lacombe Lucien."

Louis Malle's film about the German occupation of France is based on his own experiences during that time, when he was a teenager (Malle was born in 1932) The young man is Lucien Lacombe, and he is 17 in 1944, when the German war machine has started to fall apart. He lives in occupied France, and as we get to know him, we realize he's a moral cipher with no point of view at all toward the momentous events surrounding him. He's not stupid, but his interest in the war is limited mostly to the daily ways it affects him directly.

It affects him at home, where his mother lives with her lover (his father is missing in action). It affects him at work, where he labors in his boring job at the hospital. A lot of the young men in the town are members of the underground resistance movement. They carry guns, are involved in secret schemes and don't have to mop floors. Lucien approaches the local resistance and asks to join, but he's turned away because he's too young. He wants desperately (if "desperately" isn't too strong a word for such a taciturn character) to break the mold of his life, and since the resistance won't have him, he joins the local Gestapo. This is crazy, we're thinking. Lucien joins the Gestapo almost absentmindedly, and then this bright Jewish girl falls for a guy like that. But Louis Malle's point is a complex one. Neither of these people can quite see beyond their immediate circumstances. They're young, uninformed, naive, and the fact is that adolescent sex appeal is a great deal more meaningful to them than all the considerations of history.

Louis Malle, whose previous film was the bittersweet and lovely "Murmur of the Heart" (1971), gave himself a difficult assignment this time. His film isn't really about French collaborators, but about a particular kind of human being, one capable of killing and hurting, one incapable of knowing or caring about his real motives, one who would be a prime catch for basic training and might make a good soldier and not ask questions.

As played by Pierre Blaise, a young forester who had never acted before (and who died in a road crash a few years later), Lucien is a victim trapped in his own provincialism and lack of curiosity. Louis Malle seems almost to be examining the mentality of someone like the war criminals at My Lai -- technicians of murder who hardly seemed to be troubled by their actions. That's the achievement of "Lacombe, Lucien." But what Louis Malle is never quite able to do is to make us care about Lucien, who is so morally illiterate that his choices, even the good ones, seem randomly programmed. Perhaps to show that illiteracy is the point of the film.

When this movie was released in 1974, it created a huge scandal and strong controversies because it was the first movie about the second world war to introduce a collaborator and not a resistant as a main character. Louis Malle was surely affected by these controversies and he decided to escape into the dream and imagination in his next film: the odd and underrated "Black Moon". So the main character here, Lucien Lacombe, is a member of the German police but he didn't choose this situation because he is anti-semitic or he's fond of Nazi thesis. It's simply because he is a victim of his naivety and of his foolishness and he's easy to persuade. Several times in the movie, you are under the impression that he doesn't know what he's doing or saying (for example, when he's drinking champagne with Albert Horn, a Jew tailor and his daughter France). On the other hand, the stroke is responsible of Lucien's entrance in the collaboration: the school teacher doesn't want him to enter the Resistance because he's too young, he had a flat tyre.... Moreover, the action takes place in june 1944 and it's not the right era: it's nearly the end of the war I also noticed that the collaborators were initiating him into several activities (at one moment, one of them is learning him to fire with a browning) without taking care of his opinion. With all these happenings, Lucien's behaviour is changing: he becomes rough, haughty, scornful, takes advantage of his wealthy life and committs a few errors ( Horn is under arrest due to him and he didn't want it to happen). At the end, Pierre Blaise provides a great calibre in his main rôle and thanks to this, the film is strong, powerful and remain one of Malle's best films.

Note: the movie was inspired by a real fact: during the second world war in France, a young collaborator had arrested and killed numerous resistants.

Hannah Arendt's famous phrase sounds custom-made for this film. Young Lucien wants to join the French Resistance, but he's too immature. No problem, the Gestapo's hiring, and it can get so boring during wartime in a small, provincial town.

This film shocked France with its taboo subject of collaboration. They say that anyone can become a torturer. That is where this film's power lies -- Louis Malle lets us confront our heart of darkness. Devastating and unforgettable.