Underground Men: Nobody Gets out Alive in Army of Shadows
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UNDERGROUND MEN Author(s): AMY TAUBIN Source: Film Comment, Vol. 42, No. 3 (MAY/JUNE 2006), pp. 50-53 Published by: Film Society of Lincoln Center Stable URL: https://www.jstor.org/stable/43457247 Accessed: 06-04-2020 10:19 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 95.183.180.42 on Mon, 06 Apr 2020 10:19:54 UTC All use subject to https://about.jstor.org/terms NOBODY GETS OUT ALIVE IN ARMY OF en ELEGANT, BRUTAL, ANXIETY-PROVOKING, AND OVERWHELMINGLY -y sad, Jean-Pierre Melville's 1969 film Army of Shadows is ^ being released for the first time in the U.S. by Rialto in a splendidly restored 35mm print, whose nearly impenetrable blacks and drained color palette are a tribute to the title. This is the third and final film in which Melville deals directly with the German occupation of France - Le Silence de la Mer (47), his first feature, and Léon Morin, Prêtre (61) were also set j-j-j during the Occupation - and his first and only film devoted to ^ the Resistance. But Army of Shadows was made in the middle 2 of Melville's stunning late run of gangster films, preceded by Le Deuxième souffle (66) and Le Samourai (67) and before i- i Le Cercle rouge (70) and Un Flic (72), and it has more in common with them formally, narratively, and philosophically than with the earlier war films. Even if you do not conclude, fT| as I do, that Army of Shadows is Melville's most significant film - his signature work - and certainly one of the greatest films of the Sixties, it will at least change the ways in which j- you make meaning of the films that surround it. ^ The film is adapted from Joseph Kessel's Army of Shadows, ' - an account of the author's experience in the French Resistance, I- published in London in 1943. "Everything had to be accurate '""H and at the same time nothing must be recognizable," Kessel ^ wrote in his preface. In other words, fiction, as a protective ^ strategy, was applied to a work of reportage. In Rui Nogueira's p-j Melville on Melville , the director says that he read Kessel's book 2 when he too was in London in 1943; he immediately wanted O 70 m co i - i CO g o m > co -I m 73 "D I - I m o m OD -< > -< 2 C : Dû y^KpOUND 50 I FILM COMMENT I May-June 2006 This content downloaded from 95.183.180.42 on Mon, 06 Apr 2020 10:19:54 UTC All use subject to https://about.jstor.org/terms m^^am ¿^4^ ... f8 hhh^^HHH^^^^HHH^hkii .^^^^____ ^^_____^^____^^^_____ ļļllllļļ^ This content downloaded from 95.183.180.42 on Mon, 06 Apr 2020 10:19:54 UTC All use subject to https://about.jstor.org/terms to film it. He also seems to have taken story an open, and even guardedly opti- Kessel's method as the guiding principle mistic ending, Melville, looking back more for his entire oeuvre, explaining to Nogu- than 25 years later; refuses to allow anyone iera in a different context: "what people to get out alive. The opening and closing of often assume to be imagination in my films the film are devastating. Indeed, for a is really memory, things I have noticed French audience in 1969, the first shot must walking down the street or being with have had the shock effect Buñuel and Dalí people - transposed, of course, because I aimed for when they sliced through the eye have a horror of showing things I have at the beginning of Un Chien Andalou: a actually experienced." The filmmaker regiment of German soldiers, headed by a whose subject was underground man drum and bugle corps, goose-steps across assumed as a creative artist the strategies the Arc de Triomphe and makes a sharp of secrecy, subterfuge, and masquerade turn onto the empty Champs-Elysée, that were life-or-death matters for his marching straight toward the camera characters whether gangsters or résistants. which holds its position, as if frozen by The meshing of Melville's method of con- the sight. It is, however, the shot itself that structing story and identity in film, and freezes as the first row of soldiers comes perhaps in life as well, with the behavior ARMY OF SHADOWS abreast of the lens, and the nightmare of characters as seemingly different from HAS THE QUALITY OF image hangs over the film, just as the each other as Gerbier in Army of Shadows LIVED EXPERIENCE LIKE occupation must have hung like an all- and Corey in Le Cercle rouge largely NO OTHER FILM IN THE enveloping poison cloud over France. accounts for the surprising emotional res- DIRECTOR'S OEUVRE. The narrative proper begins with onance and profound sense of unease gen- Gerbier (Lino Ventura) a civil engineer and erated by films that are also as precise, the chief of a small cell of resistance fight- distanced, and abstract as a game of chess. films - Le Doulos, Le Cercle rouge , Le ers, handcuffed inside a police van, being It should go without saying that the Samourai - seem like game-playing. They escorted to a prison camp by two Vichy experience of World War II was definitive transcend genre but not their own fetishis- cops who make a pit stop along the way to for Melville's generation. Melville was tic defenses. (This criticism is of course rel- pick-up some black-market food from a drafted into the army in 1937 at age 20. ative. One has only to compare Melville's local farmer. (It's the first of many quick Born to a Jewish family, he changed his genre excursions to Tarantino's to under- interjections of local color that reveal how name from Grumbach to that of his stand the gravity of Melville's project.) the French survived the occupation, in this favorite American writer, and since it wasAnd while Melville told Nogueira that the case by doing favors for Vichy.) The sky is as Melville that he received his military attack on Army of Shadows by some overcast, rain slants down on the yellowed decoration, he kept the name after the war, French critics for presenting the resistance fields; on the soundtrack, cawing crows or so he explained to Nogueira. According fighters as if they were characters in mix witha howling wind, the van's ancient to Ginette Vincendeau, whose Jean-Pierre gangster film was "absurd," he himself chugging motor, and the film's main music Melville: An American in Paris is, along made another kind of connection: theme, its descending minor melody sug- with Nogueira's book-length interview, the"Tragedy is the immediacy of death gesting the "fate" motifthat from Bizet's only extended work on Melville available you get in the underworld or in a particu- Carmen. One of the cops tries to make in English, Melville was involved in thelar time such as war. The characters from small talk with Gerbier; whose manner Resistance, probably between 1941 and Army of Shadows are tragic characters. and brief responses suggest not only his 1943. He was jailed in Spain; his brother You know that from the very beginning." intelligence but his ironic strategy of tem- was killed perhaps trying to reach him. He (Beware: major spoilers ahead. pering rage and despair with courtesy, a joined the Free French in North Africa Althoughin it would be simplistic to catego- strategy so engrained that it seems the 1943 and took part in the Italian and rize Army of Shadows as a thriller ; sus- defining element of his character. Gerbier French liberation campaigns in 1944. pense and shock are crucial to the is the governing consciousness of Kessel's Although his service with the Free French narrative structure ; please desist from book, where the longest chapter is titled has never been disputed, some, including reading until after you've seen the film.) "The Diary of Philippe Gerbier," although Volker Schlöndorff, at one time Melville's Kessel distributes the first-person voice assistant director, have been skeptical among several other characters as well. about his connection to the Resistance. dialogue, and the distribution of Melville follows Kessel's lead in this, but Notwithstanding what Vincendeau interior monologues, Melville's the Gerbier of the film is a more compli- refers to as "contradictory testimony" Army of Shadows is a remark- cated and heartbreaking character; thanks about Melville's Resistance activities, ably faithful, albeit condensed, to Ventura's remarkably subtle, unsenti- Army of Shadows has the quality of lived In Army interior adaptation ably dialogue, regard adaptation faithful, of Kessel's of book. monologues, But to Shadows and of incidents, Kessel's the albeit distribution is condensed, characters, a book. Melville's remark- But of mental, concentrated performance. Always experience like no other film in the direc- unlike Kessel, who was writing in London a powerfully physical presence, with a solid tor's oeuvre. By comparison, even the most at a moment when the war suddenly yet agile body and a block-like head that is dazzling and affecting of the gangster seemed winnable and therefore gave his instantly recognizable, Ventura here filters 52 I FILM COMMENT I May-June 2006 This content downloaded from 95.183.180.42 on Mon, 06 Apr 2020 10:19:54 UTC All use subject to https://about.jstor.org/terms THE EARLY FILMS OF PETER I everything - physical action/ reaction and pare to leave, we hear the same dark musi- sensory perceptions - through a mind that cal fragment that played over the scene in never stops working.