O Cabo Ardiloso

Jean Renoir was always spared by the Nouvelle Vague critics.And however,if you've seen all his great films of the thirties (roughly from "la Chienne" to "La Règle du Jeu" )you may possibly find his latter days works disappointing:"le Déjeuner sur l'Herbe" and his pitiful attempt at a "Dr Jekill and M.Hyde" "Le Testament du Docteur Cordelier" "Le Caporal epinglé " is a different matter for it has its moments and the cast (Rich,Cassel,Claude Brasseur) is so perfect I do not need to add to the praise they have already received.

When I was a child ,I remember what my mother said when she saw the movie when it was theatrically released ;she did not like it very much.Six or seven years later,when I had the opportunity to see it ,I told her I did not understand her and that I had liked it ."Some day you will find out" was the answer.

At the time,I did not know even Renoir's name.Now that I've seen most of his movies,I do not take the same view as I did:I do not think,as it has often been mooted that it's a remake of "la grande illusion" although there are similarities between the two works.But Autant-Lara's "La traversée de Paris" or Henri Verneuil's "La Vache et le Prisonnier" (aka "the cow and I") which were pejoratively labeled "Cinema de Qualité" by the Young Turks were not inferior to "le Caporal Epinglé".Renoir's humor is sometimes vulgar and you'd better take "Stalag 17" instead.In the twenties his "Tire au Flanc" displays the same questionable coarse comedy side.

"La Grande Illusion" is one of the greatest films of the FRench cinema.Although it takes place during WW1,we never feel how atrocious that war was.

"Le Caporal Epinglé" takes place in a prison camp.And except for a few moments (Claude Rich's escape for instance) ,the soldiers seem to live in a holiday camp.

"LE Caporal Epinglé " is an entertaining movie though and the best scenes ,IMHO,are to be found outside the camp: Cassel on the dentist's chair is worth the price of admission.And the scene on the train with the naughty brat ("Be quiet or the gentleman will take you to war") is hilarious.

This was a very fine swan song for Jean Renoir's directorial career. It is both serious and humorous at the same time. The film contains a great deal of original news footage relating to the Second World War and the Occupation of Paris, much or all of which seems not to have been made public elsewhere. In order to blend in seamlessly with the news footage, Renoir chose to make the film itself in black and white. The original title of the film is LE CAPORAL ÉPINGLÉ, and the English title is a translation of that. Young and little known at the time, Jean-Pierre Cassel was cast as the corporal, and that worked perfectly. The story starts with the surrender of the French to the Nazis, and we see the surrender documents being signed in the very same railway carriage which was used for the Germans to sign their surrender at the end of World War I. Then we see the Nazis marching into Paris and from an oncoming sea of German soldiers Renoir cuts to an oncoming sea of bedraggled French soldiers. Despite the fact that France has surrendered, the French soldiers are being imprisoned in camps and treated as prisoners of war. The story starts there. Cassell becomes a serial escaper, escaping over and over again in ingenious ways, but is always recaptured. It is funny but also tragic, because all the imprisoned French are wasting away with insufficient food and brutal punishments. The film is historically informative and has particular value for that. But the human relationships and interactions are fascinating and the film is absorbing and enjoyable. The daring and imagination shown in the escape attempts is often astonishing. The story is based upon a novel by Jacques Perret, and that in turn was based upon real people and events. Certainly this film fills in a gap in our knowledge of the French experience of defeat. And Renoir has made a testament to human resilience and ingenuity.

This movie fell short of being funny and even dramatic. It hosted an unbelievable love-at-first-sight love story and an over-the-edge friendship. I found the movie boring and it's not due to a language barrier, as I'm French-speaking myself. "La Grande Vadrouille", another French comedy happening during WW2 which was released four years later (in 1966), is much funnier than this one.

Le Caporal opens with a montage of WWII documentary footage. "Honor and glory to the survivors" provides a nice interplay between themes in Grande Illusion and more personal philosophies regarding the condition of the human race (Renoir's 'humanism'). The drama moves at a relatively slow pace and the performances are full of affect. More documentary footage has a voice-over narration in French but from the perspective of the Nazis. There is an element of self-reflexivity to the film not just through the use of documentary footage and a more psychologically-based stylistic system but also infused into the themes of coercion and resistance. Le Caporal is more concerned with individualism than Grande Illusion which focused on group dynamics. This is underscored by the obsessive compulsive worry that one character shows for the safety of his cows, regardless of what is happening in the moment. The story does not track the multiple characters but instead folds their offscreen progress in with the corporal at regular intervals. He becomes a transient in their lives (hence elusive). There is a disconnect in this regard and a repetition to the structure of the narrative that underscores this disconnect. The graceful allusions in Regle with Schumacher are replaced by purely cynical portrayals of Germans (the drunken warmonger states "I'm probably a better German than you all"). Scorsese commented that Le Caporal Epingle is "in a different emotional key than La Grande Illusion".

The closest Renoir ever came to a direct remake. Though to write it off so is to not only misunderstand the film, but his development between '37 and '62. Where the former encapsulates a bittersweet hope for fraternite among all men on the verge of a catastrophe, the latter swings wildly from burlesque humor to tragic resignation in a struggle for personal freedom in it's aftermath.