Lacombe Lucien

I think this film was the one that really opened my eyes as to just how horrible life was in France under the German occupation and led to my great interest in almost any film depicting the era, or even better, newsreels.

A young man develops the power of life or death over others by "accidentally" joining the Gestapo-even the French police are forced to defer to him. We see the casual brutality of the French Gestapo, the tell-tale denunciation letters, the deportation of Jews.

An excellent portrait of how unpleasant everyday life could be under the occupation-a fascinatingly horrible historical period.

Lacombe, Lucien (1974)

A disturbing and sad movie about surviving the Nazi occupation in France. It's unlike any other film of its type, turning from tender to ruthless in a breath, and from joyous to ghastly just as fast. And though the Nazis are behind the violence and fear, they play a mostly indirect role in the cornering of a small Jewish family in the countryside. This is a tale about French and French, about the Resistance against collaborators.

And it's told from the point of view of the collaborators, a gang of opportunistic thugs who have taken over an old hotel and who terrorize, with German supplied documents, ordinary citizens. The title character is Lucien, an utterly heartless but somehow, at times, sympathetic boy who gets pulled into the lure of these thugs. But he shows a scary detachment from all feeling, even from love at first, and certainly from respect for life. There is a hint that he grew to think human life was cheap from his days hunting and killing animals without a flinch as a youth, but it could be the movie is showing that he had almost a disorder, something that made him unfeeling even for the most ordinary, harmless, vulnerable things. I think the former is more accurate, though, because his hunting rabbits and killing a chicken with his hands were probably (and still are) part of country life where rabbit and chicken were part of the cuisine.

But it's people who will eventually be his target, and he is not like his older counterparts. He doesn't want the spoils of war, not money or finery, resisting at first even the suit the Jewish tailor is ordered to make for him. It is here the movie gets to what matters. Lucien is ignorant enough to not quite see why this Jewish man is any different than other men, but he catches on when others around him make clear the Jew is only alive and in hiding as their choice. I guess they need a good tailor, and they need the man's money (the tailor pays when he makes the suits, it seems). The complication of a beautiful (and very French looking) daughter takes some of the expected turns, but not completely, because this very young man doesn't really know how to behave, or how to fall in love.

The director, Louis Malle, is a legend of French cinema, and later even of American cinema. He depends on location shooting, natural light, and naturalistic acting to give every scene a believability that is both beautiful and at times uncanny, especially combined with violence to animals. The lead actor, Pierre Blase, is almost too convincing in his cool and relatively mindless determination. The tailor, played by Holger Löwenadler, a Swedish actor, is a model of patience and continual assessment, trying to play the game with the thugs for his survival. His daughter is less fully realized, with Aurore Clement playing this charming and innocent girl withheld from normal life by the war. But she does in fact learn to love Lucien in her own way, and he responds in his own way.

Needless to say, the end is tragic and rather perfect. And the whole troubling two hours getting there will leave you moved, for sure, but also enlightened. The problem of loyalty and survival takes on new light here.

Louis Malle is a master of representing human behavior in a believable manner. By avoiding stereotypical characters, the director maintains a more intense level of suspense due to the unpredictability of the main protagonists. All the performances are excellent especially Pierre Blaise and Aurore Clement as Lucien and France. In my old age, I find French and Italian films present women in a much more interesting and appealing manner than American films where they tend to be little more than eye candy or character studies with minimal sensuality. Virginia Madsen's portrayal of Maya in Sideways is one of the few American performances that can compare with Aurore Clement as France or Jeanne Moreau in Le Notte. Male European directors undoubtedly have a better and more mature understanding of the female psyche. The untimely death of Pierre Blaise shorty after the completion of this film only adds to the importance of this work since he displays a unique talent which was tragically cut short. Weaknesses in the film are a limited portrayal of the resistance fighters and a truncated ending which did not segue well with the final scene.

Having been rejected by the Resistance for being too young, teenager Lucien Lacombe joins the Gestapo in a show of defiance. But upon falling for the daughter of a Jewish tailor, Lucien begins to view his actions in a very different light.

Louis Malle was never a director to worry about public opinion, having ruffled feathers with his intellectual study of incest in 1971s, Soufflé au coeur, Le, he practically ostracised himself with this simmering collaboration piece. Tho it has to be said that the sheer weight of the fall out in his home country would surely have taken him by surprise, however, what remains to this day is a highly accomplished character piece that engrosses from the get go. It's now something of common knowledge that Malle drew from his own upbringing by way of motivation in some of his work, how much of this particular story affected him is not entirely clear, but what isn't in doubt is that the directors time during the occupation of France lends this piece an aura of honesty, it feels personal, and the result is very special indeed.

Each individual viewer can interpret the sequence of events as they may, but just maybe Lacombe Lucien is a simple portrayal of a missed opportunity, and this missed opportunity coupled with naivety bred the wickedness that is viewed in the film. The theme of betrayal hangs heavy in the story, and the mere fact that Malle refused to take sides with his outlaying of the story, only furthers the sense of intrigue that covers the viewer come the stunning ending, an ending that creeps up on you and begs you for another thought process.

Sadly, first time actor Pierre Blaise would perish in a road accident a year after Lacombe Lucien's release, his portrayal of the title character is truly wonderful and it leaves a truly fitting epitaph indeed. Lacombe Lucien is highly recommended cinema, uneasy and itchy at times for sure, but it's never less than masterful in its approach on either side of the camera. 9/10

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.