O Exército das Sombras

If you have any interest whatsoever in French cinema, World War II, moral ambiguity, or Simone Signoret, see this film.

Filmed in a cold, documentary-like style, the "Shadow Army" tells the intertwining stories of several members of the French resistance. The movie defies any sort of simple categorization. It is a thriller without being thrilling. It is a spy story without a single gadget. It portrays the tedium of the task without being boring. Finally, it tells a story of heroic courage without the benefit of a single hero. That last point isn't immediately evident and you are free to disagree, of course, but heroes (as defined in the usual movie terms) are hard to come by in this story.

A popular adage goes; one person's terrorist is another person's freedom fighter. This movie serves up proof to that lie. There are true freedom fighters that will never be labeled "terrorist" and you will meet them during the course of this film. The movie makes clear that they, and the ones around them, paid a high price in pursuit of freedom. Not just in life and limb, but in moral conviction. As the movie unfolds, I found myself asking, is this action justified? The answer, of course, is that it most certainly is. The better question is would I, or anyone I know, have the courage to do what had to be done.

The technical aspects of the film are all first rate even though a bit below the best of European cinema at the time. (In some ways, the lack of high definition color and sets give it a feel much more in keeping with the time it portrays.) The actors disappear into their roles and there is not a star-turn to be found.

According to the announcement made before the screening I attended, it is being released in the United States on May 12, 2006, just before the summer blockbuster crush. Why that date and why now, almost 30 years after it was made, I do not know. My guess is it probably has something to do with money. (Doesn't it always?) Whatever the reasons, skip the Tom Cruise vehicle and don't miss the opportunity to see it.

"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.

This is a tough, somber film that captures the absurdities involved in war, and, ultimately, in life. The French Resistance "heroes" in the story are never shown conducting sabotage or planned attacks against the Germans, as one would get in a traditional World War II movie. Instead, we follow their claustrophobic and paranoid lives as they move from one hiding place to another (or one prison to another), constantly hounded by those in power, haunted by their own actions and the inability to communicate with those dear to them. Melville shows us their doubts and questions as they deal with betrayal, cowardice, and the murky ethics of killing their own to preserve the larger good.

Every episode in the film seems to lead to a darkly ironic conclusion, and the meaninglessness of their efforts becomes almost overwhelming, except that, somehow, these ordinary people continue to offer resistance in the face of death, so that their heroism lies not in the ability to stop the Germans but in taking action at all while facing the abyss.

While the acting is excellent all around, Lino Ventura's performance as Gerbier deserves special attention. It's hard to imagine any other actor bearing the tremendous weight of this film as well as he does. Gabin, at an earlier age, might have had the physical and emotional strength, but I'm not sure he would've been capable of Ventura's unassuming portrayal, which is so necessary for his character. The "shadows" at the core of this tale are seriously dark, and Ventura's Gerbier is strong enough to face them, yet modest enough to realize he can't conquer them on his own. The only way the Resistance makes sense by the end of this film, is in the collective effort of its members. Similarly, each of us, individually, cannot conquer death, but we as a group of human beings can continue to live on. _L'Armée des ombres_ ultimately moves beyond a story of the French Resistance in World War II and serves as a powerful existentialist epic, with Ventura's performance responsible for much of the film's dignity and humanity.

As with _Léon Morin, prêtre_ (1961), another story set during the war, Melville seems more emotionally present in _L'Armée des ombres_ than he does in his policiers or noir pieces, and after seeing the film, his overall body of work suddenly seems much heftier. While the movie isn't as visually daring of some of his other works, it has a dark beauty all its own, and his pacing, editing, shot selection, and use of sound show him in great artistic control. Forty-eight hours after seeing it, I still find myself caught in its world.

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

Based on truth, the Army in the Shadows takes the French men and women of the Resistance as its theme, at a point near the end of the war when the Resistance movement and Nazi intelligence about its work and staff are both firmly established. As well as giving a thrilling history lesson in the workings of the Resistance, from the rural ladies who operated safe houses, to the chateaux-dwelling aristocrats whose lawns played host to light aircraft smuggling collaborators in and out of France, it also is a fascinating essay on the gruesome realities of heroism: including moments of hopelessness and complete failure of nerve. Events test our group of collaborators, so that each one bumps up against his or her personal limit, as to what they are intelligent enough to understand, brave enough to endure, and determined enough to achieve. Excellently acted and directed, it is a classic uncompromising Melville thriller.