L'armata degli eroi

"L'Armée des ombres" (1969) was shown in the U.S as "Army of Shadows." The film is co-written and directed by Jean-Pierre Melville.

The time is 1942 and the setting is France. Lino Ventura plays Philippe Gerbier, a high-ranking officer in the French resistance. Gerbier is intelligent, resourceful, and brave. He and his small band of urban fighters are constantly in danger of capture and torture by the Nazis. This isn't a film of rural partisans--it's a film where people meet in cafés and offices. No one knows when Nazi soldiers or Gestapo will sweep down and drag them off. No meeting is safe, and no relationship is safe either--how many people can remain silent under savage tortures that go on for days?

Although Ventura is excellent in the role, the movie is dominated by Simone Signoret as Mathilde--tougher and braver than any of the men, but possessing one terrible weakness.

This movie is different than most films about the French Resistance. Things don't go smoothly, they don't go well, fear is everywhere, and heroism often takes place in a prison cell where no one ever learns of it. It's fascinating, but grim.

"Army of Shadows" is a neglected film by a great director. It's definitely worth seeking out.

ARMY IN THE SHADOWS (Jean-Pierre Melville - France/Italy 1969).

Jean-Pierre Melville's work features basically two themes: the world of crime and the French resistance. In Melville's eyes, these two worlds are very much the same. The gangster codes he adopted for many of his films were based largely on the codes of the French resistance and his own experiences during the German occupation (not the other way round as some people suggested).

Melville must be the most celebrated French director at this point in the U.S, after the re-release of "Army in the Shadows" in 2006, that was almost universally applauded by the critics as a work of genius or a forgotten masterpiece. Now, in many ways this is a good film, but something is missing, and I can't really put my finger on it. Perhaps it's the clinically almost surreal interaction between the characters, that worked so well in Melvile's gangsters film, but here he is depicting (admittedly his own ) reality and very much his personal take on French resistance, where "real life" plays a much greater part than in the surreal settings of many of his gangster films, but it doesn't feel that way when watching this. The film is languidly paced with a slow build-up, but never really catches fire. With Melville's characteristically cold - almost clinical - direction, it's partly captivating in parts, but perhaps the tone is a little too detached for my taste. He certainly takes his time to tell the story, but the acting is first class with Lino Ventura and Simone Signouret giving memorable performances among a first-rate cast.

Camera Obscura --- 7/10

This is a film about real heroes. Not the flashy Rambo kind, but ordinary men and women who did extraordinary things in a time when France had already surrendered to the Germans. They only numbered a few hundred at most, and they walked in the shadows around France knowing that they would certainly die before it was over. Yet, they moved on and did what they had to without complaint or regret.

You won't see bombs blazing and blood and gore. What you will see is real people who agonize over every death that they are forced to carry out. People who knew that every corner held danger and that they could be betrayed at any time.

These are real heroes and this film portrays them as they were in a somber, intelligent, and dark fashion. The film was made and released in 1969, yet it's awards are in 2006 and 2007, when it was restored and finally presented in this country.

As the films of Jean-Pierre Melville are made available, we are able to share in seeing one of the truly great directors in the world. The pleasure is immeasurable.

Never before (and after) a movie on French Resistance has been so "glamourless". Jean-Pierre Melville has been hailed as the father of the French gangster film. Certainly, his gangster films are probably the films for which he is best known (Le Doulos, Deuxieme Soufflé, Le Samourai, Le cercle rouge, Bob le flambeur) on par if not better than anything which Hollywood produced. Yet the world of the anonymous gun-toting hoodlum occupies only a part of his oeuvre.

'L'armee des ombres' (aka The Shadow Army) is Jean Pierre Melville 1969 masterpiece and does not deal with gangsters. The film is a mix of the director's war time experiences in the French Resistance and Joseph Kessel successful wartime novel. What is remarkable about this film is that Melville turned a mosaic of anecdotes that Kessel's novel is all about into a great, dark epic.

From the chilling opening shot of Germans marching down the Champs-Elysées to the final scene involving the fellow Resistant Mathilde (the great Simone Signoret) the film seems to demonstrate that fighting for an ideal often leads towards death and solitude. What Melville does successfully is to show those dead-ends the way they occur to their protagonist (very simply and minimalist), however more than showing them Mr. Melville managed to make these realities (death and solitude) an equally tragic experienced for the audience...

'L'armee des ombres' is Melville's most moving film, a monument to the spirit of the Resistance rather than its actuality. A poignant drama with a strong performance from not only Lino Ventura but also Simone Signoret, Paul Meurisse, Jean Pierre Cassel, Claude Mann, Paul Crauchet to name a few.

This is probably Melville's greatest cinematographic achievement and, when fiction becomes reality, when actors leave behind their egos to resurrect into heroes, when the colors of the film mirror the one of the soul and when silence becomes music, true cinema has been achieved… 'L'armee des ombres' is a terrible yet powerful experience in which the words duty, courage, abnegation get charged with meaning

Jean-Pierre Melville's "Army of Shadows" is a sombre film about the French Resistance during WWII. It's yet one more movie that makes me feel like I have a terrible grasp of history, as I knew virtually nothing about the movement before seeing this. Melville himself was a member of the Resistance, so I can only assume that his film is fairly accurate. It's powerful, but not obviously so. It doesn't inspire tremendous reactions or emotions while viewing it, but it gets in your head and stays there.

The film is lacking any of that championing of the underdog spirit that infuses so many other stories about scrappy groups resisting the tyranny of the powerful. The members of the French Resistance in this film live like unearthly beings, skittering from one shadowy doorway to another, trying to erase any sign of themselves. The movie suggests that this need for non-existence bleeds into their psychology as well -- the film's main character becomes nearly inhuman in his devotion to the cause and his ability to ruthlessly do away with colleagues when there's a chance that one of them might jeopardize the others. He's not inhuman, but he must do inhuman things, because the desperation of his and his comrades' situations calls for it.

The Criterion Collection's print of the film looks terrific, or at least as terrific as the film's dreary pallet of grey and brown will allow. Melville gives the film an authentic look -- only some scenes set in the London blitz and on an aircraft carrier have a studio set look to them.

A shot of the Arc di Triomphe both opens and closes the film: a symbol of the France that would eventually emerge from the dark days of WWII, or an ironic jab at a country that can't take much credit for fighting off the tyranny of fascism?

Grade: A