A Grande Ilusão

'La Grande Illusion' is one of those films that reaffirm a film lover's belief that cinema as an art form can be used by filmmakers to bring people together.

The screenplay for the film written by Renoir and Charles Spaak is extremely deep and multi layered. Although the film is set during the WW1 era, the timing of the making and release of the film is very important. This was released when the Nazi party in Germany was becoming more and more powerful and another global war was imminent. I can't help but think that this film was Renoir's attempt to make people stray away from the extremism that they were getting influenced by. Although it didn't achieve its intended objective, one can't help but admire the artist's intentions.

If one has to summarise 'La Grande Illusion' in one phrase, I think the phrase to be used is 'the power of humanism'. Renoir loves every single character in the film. Not just the French soldiers, even the German soldiers get treated with respect. The Germans are not stereotypical caricatures as is found in some other films of this era. The German officers treat their French prisoners with kindness. This shows Renoir understood that there were ordinary, innocent German people who were caught in the middle of the wars being instigated by the politicians in power.

Apart from underlining the humanism and the similarity between the soldiers on all sides, the film also works on other themes. The film explores the changing times. We see the men who have been detached from the outside world due to the war feel surprised when they hear that women are keeping their hair short. One of them equates this appearance with the appearance of a boy. This is clearly Renoir commenting upon the progress women were making at the time in trying to gain equality. We also get the angle of the changing nature of the class distinctions. Rauffenstein and Boeldieu belonged to the higher classes. They understand and respect each other even though they belong to Germany and France respectively. We see them reminisce about the old times and talk about how they feel out of place in a fast changing world where the class distinctions are getting distorted as they embark on an era where people belonging to lower classes as well as Jews will be equal to them. We also get a subtle introspection on the concept of masculinity in this changing society.

Renoir through his visuals shows how all the characters are at times literally and at times thematically trapped by the war. We get his signature shots of frames within frame to metaphorically imply that the characters are trapped. Every character, be it French or German is trapped mentally and physically by the war. Even a high officer like Rauffenstein feels trapped in his claustrophobic chamber. They are all detached from the outside world. They want freedom, but are apprehensive about whether they will be ready for what awaits them on the outside once they get their 'freedom'. This internal apprehension of not being ready to live on the outside reminded me of 'The Shawshank Redemption'.

Like Powell & Pressburger did with 'The Life and Death of Colonel Blimp', Renoir is bidding farewell to an era where even wars were fought with a gentlemanly attitude. Although he does touch upon the class distinctions and some other aspects that plagued that earlier era, but he is primarily concerned with the humanism of that characters. So, we see the kindness between soldiers belonging to different nations. This can lead to a a criticism that the film is a bit overly romanticised and is a bit of a wish fulfillment exercise as it doesn't depict the brutalities of war. But I think a brutally real account of WW1 was never Renoir's vision. In the midst of the rise of the Nazi Party and the huge possibility of another war, he wanted to make a film that makes the viewers renounce extremism and in the process instill the spirit of a unified Europe, no matter how unrealistic it may seem. This is why I think 'La Grande Illusion' will work brilliantly as a double feature with Kubrick's 'Paths of Glory'. While the first shows soldiers from different nations treating each other with kindness, the latter shows French officers being monstrously merciless to their own French colleagues.

Renoir's visual style is beyond impressive. He uses very little editing in most scenes, instead he constantly keeps moving the camera to reveal other characters in the room or to reveal new parts of the interior which were earlier not visible in the frame. He also uses deep focus effectively to make the visual language of the film very character-inclusive in the sense that all the characters find importance in a scene. This inclusive nature of his style executed by tracking shots is epitomised by the famous scene involving the singing of 'La Marseillaise', a scene where he practically uses no cuts.

Performance wise, I'll give special mention to Jean Gabin, Erich von Stroheim and Pierre Fresnay.

'La Grande Illusion' is a film that I can watch over and over again and get something new out of it on each viewing. It is rich in humanism, thematic depth and Renoir's brilliant directorial skills. The title of the film itself is layered and open to many interpretations. What was the grand illusion? Is it the illusion that one can achieve freedom from the suffering by escaping from prison camps or is it the illusion that the world that awaits these soldiers after the war ends will be the same as the one that they left behind? Or is war itself the grand illusion that creates barriers between human beings who are all the same, but get divided based on geographical borders? Maybe it is one of them, maybe it is all of them.

Jean Renoir's classic "La Grande Illusion" has something to recommend it to anyone - there is fine acting, directing, writing, and photography, and a story filled with memorable characters who are involved in action, suspense, and drama, with some comic parts and even, later in the film, some romance. All of it fits together perfectly to create a timeless and very satisfying experience.

The movie takes place during World War I, and is often considered an anti-war film, but the themes about humanity, relationships, loyalties, and identities are all timeless and go beyond any mere political statement. The interplay between persons of different nationalities and classes, thrown together by the war, leads to good drama and makes some profound points about human nature. The story primarily follows three Frenchmen who are taken prisoner by the Germans, showing us how they manage to deal with their confinement, and allowing us to watch their disappointments and their attempts to escape. The other main character is a German prison camp commander with whom they become friendly, raising complicated questions of loyalty and duty.

The character studies are excellent, and all the fine acting and directing get the most of out the possibilities. The settings are convincing and help the viewer feel what it was like to be in camp with the prisoners, sharing their boredom and their longing for freedom. The plot itself is interesting, and has some exciting moments, but the main emphasis is on what the characters learn about themselves and about humanity in general. There are many thoughtful scenes and some nicely defined secondary characters that round out the picture.

This is a fine movie, deserving of its reputation, and one that should appeal highly to anyone who enjoys classic cinema.

In the old European order, pre-WWI, one nation's aristocracy made war on another's not out of love for king and country or hatred for the enemy, but out of a sense of honor and duty. War was what they did, these aristocrats of l'ancien regime. Their castles in the air, their noble worldview, their time-honored way--all would crumble, as they very well knew, if the line between the rabble and themselves were allowed to continue to blur. The masses had new and different loyalties.

"La Grande Illusion" in 1914 was the hope that that old order could be preserved in the face of surging democracy and noveau-riche power. Jean Renoir's film presents us with an irony: the martial elites of France and Germany needed the war to vouchsafe their very identities, and yet that conflict would prove their undoing. Whatever side won, the hoi polloi would gain the upper hand.

Restored from its original camera negative, the 1937 French film now on DVD sparkles like new. The restoration lets us see that nothing is dated about this work of genius, even if its POW-camp situations today seem stock and its characters stereotypes of nationality and class. The fine acting, the deft pacing, and the fluid camerawork make for a film that could have been produced last year. The whispered subtext, the nuanced conflicts, and the ironic complexity make for a film that is timeless.

The subtext is the eternal tension between "in the air" and "on the ground," "on high" and "here below," "from a distance" and "up close and personal." From a distance, war is no more rancorous than a chess game, with national boundaries as artificial as the squares on a chessboard. Up close and personal, war separates humans from their lives and aspirations, lovers from their beloveds.

The old elites loved nothing but their class and its accoutrements. It was peasant stock and noveau riche who belted out national anthems and honored the borders which in wartime could sever lover from lover but, paradoxically, also shield prison-camp escapees who made it across them to sanctuary. Renoir's genius was that he could show that an emergent new order, manifestly better on the ground, comes at a steep price, tragically, in the air.

Every time I watch this I find something else I hadn't thought of before, every viewing is an augmented experience. Things I hadn't spotted at 11, 19, 22 etc I spotted last night, mostly inconsequential but still adding to the picture 36 years after my first time. That to me is the difference between great films and Great films, one of the reasons why this ostensibly simple movie is one of the all time Greats.

And it is simple (the simplest things are usually the best) - boring to some people who sadly will never understand its logic and magic - an absorbing prisoner of war tale that is also a prisoner of class tale. It defines that class loyalties are more meaningful than patriotism even if not always practical, and that to those who consider themselves to have breeding it's far more important to have "blood" than capital. Boldieu and Rauffenstein embody this, they both knew their chivalric world order was being gradually diminished - the next war will and was led by people without breeding, types like Marechal and Rosenthal who fought on. The most significant borders are not between countries, races, religions, sexes or ages but those between the classes. Renoir was at his most inspired with Illusion, with so many memorable images and set-pieces, an engrossing storyline even when down to trying to say blue eyes in German or being posh by gossipping in English, and fantastic acting by all concerned. Everything has already been covered and better in previous posts, but I would add I don't understand why Regle du jeu is the Renoir film that gets the kudos today - unless by being deliberately more obscure it appeals to influential Artheads.

The French film I love the most.

It is a wonder to see a film from the 1930's so definite in its view and opinions, yet so touching and revelatory. Jean Renoir's GRAND ILLUSION is a film of great importance, one that improves with each viewing. Having just finished the picture again for the first time in some 7 years, I was struck by its freshness. It is an Anti-War film set during World War I that is something to watch. It demands intense viewing.

This is a French work of art by the great Renoir, who would make his most acclaimed film, RULES OF THE GAME, two years later. If you ask me, GRAND ILLUSION is the superior pic and holds up immeasurably better. The small doses of humor and original characters in this film foresee the classic "shooting party" of RULES OF THE GAME. With this movie, Renoir uses prisoners-of-war and the ludicrous element of war so prevalent in early 20th Century Europe and merges them into a film not unlike a play (an extremely well-written play). The viewer has no illusions as to whether or not a war is happening. We happen not to see any battles or gunplay, rather, the human element between men and women who are not so different no matter their ethnicity.

Renoir's camera is an incredible tool used throughout. He probes the characters at the various prison camps with some smooth dolly shots and brilliant use of focus and pull-backs. It seems like an extension of his hand, much like his father's paintings. One striking scene has some weary soldiers singing the French "Las Marseilles" after getting third hand knowledge of a French victory over their German captors. Any scene with Erich von Stroheim is interesting because he is human and not some mindless German dictator so many people would come to know at the time of the film's release. He is a broken man, scarred by war and looking to gain a friend in the enemy. This is rare.

As far as prison camp films go, these guys seem to have it easy, however the fact that they are officers gives us some explanation. The story-line effectively moves from escape attempts to human realization of the situation they are in. Parts of it reminded me of STALAG 17, Billy Wilder's 1953 classic no doubt inspired by GRAND ILLUSION. This is Wilder's film without the Hollywood touch, realist and sometimes drab. Abel Gance's J'ACCUSE would follow a year later. If you want to see some anti-WWI films with two completely opposite methods of warning beneath the surface, see these two flicks back to back.

The illusion of reality is shattered by war, Renoir is telling us. If only it could be as simple as those amazing shots of the countryside from inside the German woman's house: a breathtaking, simple look at a peaceful scene the way it should be.

RATING: ***1/2