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Success and Controversy
With Olivier Curchod
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La Grande lllusion
is Renoir's twenty-first film.
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1937.
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The main thing to remember is
this is the first and last time
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that he'd received such
public and critical acclaim
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00:00:19,360 --> 00:00:20,720
in the whole of his career.
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He'd been making films for 15 years.
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He'd had some limited success,
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he'd received some recognition,
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but he wasn't a filmmaker
people really trusted yet.
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The man behind La Grande /llusion
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had free rein for the years ahead,
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which enabled him to make
La Béte Humaine 2 years later
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and La Regle du Jeu 3 years later.
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The story of the different versions
of La Grande /llusion is a long one.
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It first came out in June 1937,
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within the unique setting
of the World Fair in Paris.
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The film was sold as the highlight
of the exhibition in the press.
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La Grande Illusion
was acknowledged from the outset
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as the main film of the year.
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It left the screens during the war.
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Vichy and the German occupying
forces didn't want the film.
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There was debate about bringing
the film out again in 1945.
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The images in the film,
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which deals with the Great War,
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so therefore French prisoners,
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German jailers,
were no longer acceptable.
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There was a press campaign pitting
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the vast majority
of the critics and the public,
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who had applauded
the re-release of the film in 1946,
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who said quite simply,
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"This 10 year old film
is a masterpiece of French cinema",
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against the Resistance press,
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which said, "We can't show
a film like that after Auschwitz,
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"after collaboration, after Hitler,
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"showing us Germans
from 30 years ago who were nice,
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"Stroheim being pals with Fresnay,
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"Gabin sleeping with Dita Parlo.
It's not possible."
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00:02:06,320 --> 00:02:09,920
Suddenly, people started thinking
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that the film might be ambiguous,
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and was pleading before the war
for Franco-German rapprochement,
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which is nonsense.
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Renoir was evoking
the war he'd known.
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You can't superimpose
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the 14-18 war
with the particular features
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that distinguish the 39-45 war.
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At the beginning of the 1950s,
Renoir was in Europe shooting a film
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when he heard
that the production company, RAC,
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had gone bankrupt and the film
had, as it were, been abandoned.
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00:02:45,360 --> 00:02:48,960
So he launched a Europe-wide search,
using his contacts,
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for copies, because he wanted
to restore the film,
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in order to stop people seeing
the 1946 film, which had been cut,
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although by a few minutes only:
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the handing out of the parcels,
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the scene where the Germans
sing the nationalist song
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Wacht am Rhein to celebrate
the taking of Douaumont...
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and the kiss between
Gabin and Dita Parlo.
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00:03:22,120 --> 00:03:26,280
Renoir wanted the film back
on the screen some day in the 1950s
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looking the way
the Parisians first saw it in 1937.
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00:03:30,120 --> 00:03:32,920
The irony of the story
is that having spent years
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looking for the negatives
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to reconstruct
La Grande Illusion of 1937,
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the French Film Library,
which is pretty organized,
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discovered that they had
a wonderful copy from 1937,
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from which they
could restore the film,
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which led to the version we all knew
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for years and years,
which is the 1958 version,
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with different credits,
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reconstructed credits.
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The film was a great success.
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An international
referendum classified it
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as the best film out of 10 films,
the best French film of all time.
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00:04:08,880 --> 00:04:12,440
Renoir promoted the film
throughout the whole of 1958
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showing it all over
France and in Europe.
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He recorded a short
presentation film for the occasion.
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In it we see this nice fat old man
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nostalgically showing us photos
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of his own plane,
which he flew during the war.
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I found some old souvenirs
in the bottom of a drawer.
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This is a 1915 Voisin.
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Of course, it's not a jet plane.
The chap flying it is me.
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How time passes!
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It's a deeply personal film,
which escapes political labels.
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It's also the film that made
Jean Renoir an international name.
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That's why he always
defended the film tooth and nail.
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Afterwards, in the 60s and 70s,
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all the film enthusiasts
can relate to a film like that.
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Martin Scorsese,
for example, is an admirer
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of La Grande Illusion.
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00:05:05,840 --> 00:05:09,760
Then there's the resurrection
of the negative,
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which led, at the end of the 90s,
to a new restoration,
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which is the film
the Parisians saw in 1937.
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The main thing that's new for us,
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apart from the picture quality,
because it's from the negative,
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are the original credits,
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done the way they were in 1937
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with a sort of shutter,
which gives them a certain charm.
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and also gives the film
a kind of eternal relevance.
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00:05:37,040 --> 00:05:41,160
The story of La Grande Illusion
is also, over 75 years,
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the story of the way in which
the film has been understood,
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interpreted,
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and often misinterpreted.
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In 1937, when the film came out,
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it managed to unite both ends
of the political spectrum in France.
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The Communist press, in particular,
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00:05:58,880 --> 00:06:01,960
within the context of course
of the Popular Front,
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00:06:02,160 --> 00:06:04,400
applauded the film wildly,
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because it was by Renoir,
who at the time was still affiliated
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to the French Communist Party.
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They saw the film
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as a great internationalist film,
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a great pacifist and humanist film.
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At the other extreme,
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to the right, it was a great
film about patriotism,
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about the Marseillaise
and flying the flag.
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Renoir had succeeded,
while laughing up his sleeve,
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in getting everyone to agree.
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00:06:35,320 --> 00:06:39,440
On the other hand, when the film
travelled abroad, in 1937,
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it was sent to represent France
with some other films
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at the Venice Film Festival,
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the film was tipped to win.
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00:06:48,480 --> 00:06:51,200
Mussolini, as a veteran
of the Great War,
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00:06:52,160 --> 00:06:55,160
appreciated this man's film,
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but his regime couldn't back it.
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00:06:57,840 --> 00:07:03,320
So, La Grande /llusion
went home with a cup, a gadget,
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00:07:04,240 --> 00:07:09,120
while a modest film by Duvivier
picked up the prize.
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Germany blockaded it.
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00:07:12,200 --> 00:07:15,560
Then the film crossed
the Channel and the Atlantic.
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00:07:15,720 --> 00:07:19,680
In 1938 it was shown in England.
It was a massive hit.
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It was shown in the USA,
in exceptional circumstances:
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Mrs Roosevelt had it screened
in the White House for her birthday.
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President Roosevelt saw
La Grande Illusion,
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a journalist having stated
that every Democrat in the world
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should see the film.
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The rich get richer,
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and cinema history soon had it
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that it was President Roosevelt
himself who said,
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"Every Democrat in the world
should see La Grande lllusion"
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It ran for weeks on end
in New York in 1938.
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It toured
fifty American universities.
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00:07:58,680 --> 00:08:02,920
That may be one of the reasons
why La Grande Illusion
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has been part of a film buff culture
in the USA since before the war.
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00:08:09,320 --> 00:08:13,280
Before the war,
there was this division:
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dictatorships had censored the film,
stopped it being screened,
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00:08:17,600 --> 00:08:21,200
in Italy, in Austria
after the Anschluss, in Japan,
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00:08:21,360 --> 00:08:23,480
in Nazi Germany of course...
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00:08:24,240 --> 00:08:28,040
But inside, things weren't so simple.
Some liked it, some didn't.
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And then the democracies, the French
3rd Republic, England, the USA,
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made it into a sort of loss leader
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00:08:39,240 --> 00:08:41,720
for the great humanist
values of democracy.
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00:08:41,920 --> 00:08:44,800
In France, at the end of 1937,
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Céline, who's not just anybody,
brought out his first pamphlet,
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Bagatelles pour un massacre,
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and devoted a whole chapter
to La Grande Illusion,
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an appallingly
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filthy and violent chapter,
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savagely attacking the character
of Dalio, Rosenthal, the Jew.
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Céline hated the film,
because he found it dangerous.
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00:09:07,800 --> 00:09:10,680
He thought the portrayal
of the Jew in the film
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contributed to the acclimatization
of Jews in French society.
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His reading may have been the best -
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although he threw his arms up in
indignation and started screaming -
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of the strategy employed by Renoir
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from the point of view of the
film's racial and political message.
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War came and the film was banned
by Vichy and the occupying forces.
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After the war, there was the polemic
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with the Resistance,
who wondered whether the film
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wasn't too nice
given all the horrors of war.
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00:09:47,360 --> 00:09:50,520
On the other hand, what's
very important is that in the 1970s
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students of human sciences
in universities
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started trying to decipher
the message of La Grande /llusion.
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Here we must mention
the great historian Marc Ferro,
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who held the following view:
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the film had the reputation of being
a pacifist, humanist film.
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00:10:07,800 --> 00:10:12,200
In reality explains, or tries
to explain, Marc Ferro,
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this film is actually
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coded anti-Semitism,
a coded preparation for Vichy.
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Look at the character of Rosenthal.
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Rosenthal, the Jew,
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who identifies himself as Jewish,
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who says his family is from Austria,
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that they are rich...
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In 35 years the Rosenthals
have acquired
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3 historic castles with hunting,
ponds, farmland and orchards...
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Ferro said, "He's different".
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In other words,
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the representation of the Jew
in La Grand Illusion
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is to show that Jews are different
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and not integrated
into French society.
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The second attack made by Ferro
in his paper:
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look at the English.
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They're ridiculous.
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When they put on a show
they dress up as women.
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All Englishmen are homosexual.
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Of course, being anti-English
would be very important
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in Vichy propaganda.
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What's not mentioned
is that almost all of the claims
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made about the film by Ferro
are wrong.
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00:11:17,400 --> 00:11:19,120
Ferro was mistaken,
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00:11:19,280 --> 00:11:23,080
because he was working
on documents that were inaccurate.
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00:11:23,240 --> 00:11:25,960
He quotes dialogue: it's wrong.
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He cites scenes: he's mistaken.
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In other words, he has
a preconceived idea about the film,
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which he wants to apply...
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It's great to knock
something off its pedestal.
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The great humanist film!
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That human sciences
can finally prove that it's actually
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a pre-Vichyist, anti-Semitic film
without knowing it.
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What's certain is, since then,
I can quote a dozen historians
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or commentators
who for the last 10, 15, 20 years
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have been sniggering,
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"La Grande Illusion isn't the great
humanist, pacifist film after all".
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00:12:01,680 --> 00:12:05,680
In fact, an extra element
has come to muddy the issue:
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00:12:05,880 --> 00:12:07,800
Jean Renoir's biography.
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00:12:08,040 --> 00:12:09,600
In 1939, Renoir,
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00:12:09,760 --> 00:12:13,640
disenchanted with Communism,
217
00:12:13,840 --> 00:12:16,200
gradually detached himself
from the left.
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00:12:16,400 --> 00:12:20,040
In 1939 he went to Mussolini's Italy
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to shoot a film adaptation of 7osca,
220
00:12:23,560 --> 00:12:26,880
which caused
much gnashing of teeth.
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00:12:27,200 --> 00:12:30,280
Renoir, during this phoney war,
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00:12:30,440 --> 00:12:35,880
said some unfortunate things
about Jews in the film industry.
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00:12:36,040 --> 00:12:39,560
He who had worked with Jews
throughout the 1930s.
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And then in 1940, when he had to
get permission to leave for the USA,
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00:12:45,320 --> 00:12:48,920
Renoir, who wasn't
that bothered about it,
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00:12:49,080 --> 00:12:51,240
and it's not to his credit,
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00:12:51,400 --> 00:12:55,560
paid some visits to Vichy,
228
00:12:55,720 --> 00:12:58,880
some letters were exchanged,
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which for the last 10 years have
been brandished, not to sully Renoir
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but in an attempt,
based on the Renoir of 1940,
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00:13:07,360 --> 00:13:12,000
who indisputably prostituted himself
in order to leave,
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00:13:12,880 --> 00:13:16,120
to re-read La Grande /llusion
of 3 years earlier, saying,
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00:13:16,280 --> 00:13:19,000
"We told you that the film
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00:13:19,560 --> 00:13:22,800
"was pre-Fascist
and pre-anti-Semitic,
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00:13:22,960 --> 00:13:26,000
"because look what he's doing
in 1940".
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00:13:26,160 --> 00:13:27,800
Two things should be said.
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00:13:27,960 --> 00:13:31,320
The first thing is,
that it's a man and a work.
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00:13:31,480 --> 00:13:35,160
In the Arts, these have always
been two different things.
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00:13:35,320 --> 00:13:37,520
They are obviously linked,
240
00:13:37,680 --> 00:13:40,280
but a work is a work,
with its own logic,
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00:13:40,560 --> 00:13:44,920
with a message that's all its own,
regardless of the man.
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00:13:45,120 --> 00:13:48,480
Secondly, you can't use
a man's biography
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to reconstruct the story.
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00:13:51,040 --> 00:13:55,800
Thirdly, you can't use the events
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00:13:55,960 --> 00:13:58,280
of 1944-45
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to go back to 1937
247
00:14:00,600 --> 00:14:03,840
and say, "In 1937,
it was preparing for Auschwitz".
248
00:14:04,000 --> 00:14:06,280
That's completely crazy.
249
00:14:07,000 --> 00:14:09,240
And then there's another response,
250
00:14:09,400 --> 00:14:13,040
which is to see
what Renoir is saying in the film.
251
00:14:13,240 --> 00:14:15,800
- I'm happy to be going with you.
- With us.
252
00:14:15,960 --> 00:14:19,200
Yes, / like Boeldieu, but...
253
00:14:20,760 --> 00:14:22,200
When I'm with him...
254
00:14:23,800 --> 00:14:26,320
I never feel completely at ease.
255
00:14:26,800 --> 00:14:30,440
Education, I suppose,
but there's a barrier between us.
256
00:14:30,600 --> 00:14:31,880
He's a great chap.
257
00:14:32,080 --> 00:14:34,960
Everything crystallizes
around Rosenthal.
258
00:14:35,160 --> 00:14:37,760
Once he decides to give the part
259
00:14:38,200 --> 00:14:40,160
to Marcel Dalio,
260
00:14:40,320 --> 00:14:44,680
and it's something that's never
been mentioned by any commentator,
261
00:14:45,080 --> 00:14:48,120
the role is limited
to the first half of the film.
262
00:14:48,680 --> 00:14:50,480
Only the barracks.
263
00:14:51,560 --> 00:14:55,840
In the second half of the film,
the fortress,
264
00:14:56,320 --> 00:15:00,400
there was another character, named
in the script archives as Dolette,
265
00:15:00,560 --> 00:15:04,400
to be played by an actor with whom
Renoir had worked before,
266
00:15:04,560 --> 00:15:06,520
called Robert Le Vigan.
267
00:15:06,680 --> 00:15:09,480
Dolette was an engineer
from the best school,
268
00:15:10,080 --> 00:15:14,600
a cultivated Frenchman.
269
00:15:15,080 --> 00:15:18,720
Renoir came up
with the idea of combining
270
00:15:18,880 --> 00:15:21,560
the Jew from the first half
271
00:15:21,720 --> 00:15:26,360
with the engineer from the second,
who will escape with Gabin
272
00:15:27,040 --> 00:15:28,800
and end the film with him.
273
00:15:29,960 --> 00:15:32,200
The day he decided to do that
274
00:15:32,680 --> 00:15:34,880
he gave the character of Rosenthal
275
00:15:35,040 --> 00:15:39,480
not half an hour of the film,
but the whole of the film.
276
00:15:40,000 --> 00:15:42,600
He allowed him to take on
the characteristics
277
00:15:42,760 --> 00:15:47,640
that had been envisaged
for the character played by Le Vigan.
278
00:15:48,160 --> 00:15:52,240
In other words, when Gabin
and Fresnay arrive at the fortress,
279
00:15:52,400 --> 00:15:55,320
where people are put
who spend their time escaping,
280
00:15:55,480 --> 00:15:56,640
we meet Rosenthal.
281
00:15:57,600 --> 00:15:58,960
So, he's like them.
282
00:15:59,120 --> 00:16:03,440
He's at the same level
as the Franco-Frenchman, Gabin,
283
00:16:03,840 --> 00:16:07,640
and the old stock aristocrat
Pierre Fresnay.
284
00:16:08,000 --> 00:16:09,960
And when it comes to escaping,
285
00:16:11,800 --> 00:16:16,080
it's Rosenthal
that Gabin escapes with.
286
00:16:23,520 --> 00:16:25,920
What the commentators
have never understood
287
00:16:26,080 --> 00:16:29,480
is that you don't judge a film
on a line of dialogue,
288
00:16:30,480 --> 00:16:31,840
on an isolated sentence
289
00:16:32,000 --> 00:16:34,120
but on a narrative strategy,
290
00:16:34,280 --> 00:16:38,160
a narrative economy
on the scale of a whole film.
291
00:16:38,560 --> 00:16:40,440
Renoir's message is as follows:
292
00:16:40,600 --> 00:16:44,520
"In the first half I'll show you
a Jew who acts like a Jew".
293
00:16:44,680 --> 00:16:46,680
Sorry to put it so bluntly.
294
00:16:46,840 --> 00:16:48,440
His name's Rosenthal,
295
00:16:48,600 --> 00:16:50,720
he displays the signs of his wealth,
296
00:16:50,880 --> 00:16:53,880
the signs of his origins.
297
00:16:54,320 --> 00:16:57,600
The most famous scene
is the one with the costumes,
298
00:16:57,760 --> 00:17:00,400
where they're preparing
the costumes for the show.
299
00:17:00,560 --> 00:17:04,280
Each one of the boys says
why they want to escape.
300
00:17:04,760 --> 00:17:07,720
One says because he wants
to be like everyone else.
301
00:17:07,880 --> 00:17:12,320
Another that he thinks
his wife's cheating on him.
302
00:17:12,480 --> 00:17:16,080
Rosenthal says,
"I'm from a very wealthy family,
303
00:17:16,240 --> 00:17:18,760
"I own castles, etc...
304
00:17:18,920 --> 00:17:21,440
"I want to escape to defend it all".
305
00:17:21,600 --> 00:17:24,040
What do you say, Rosenthal?
You're a sportsman.
306
00:17:24,200 --> 00:17:26,840
Him? He was born in Jerusalem!
307
00:17:27,000 --> 00:17:29,440
Wrong, Vienna, the Austrian capital.
308
00:17:29,600 --> 00:17:31,880
Danish mother, Polish father,
naturalized French.
309
00:17:32,200 --> 00:17:33,640
Good old French aristocracy!
310
00:17:33,880 --> 00:17:36,120
There are two
anti-Semitic attacks here.
311
00:17:36,280 --> 00:17:41,120
First, the character
played by Carette, the Parisian,
312
00:17:41,280 --> 00:17:44,000
"Him? He was born in Jerusalem!"
313
00:17:44,560 --> 00:17:46,360
First attack by a Frenchman.
314
00:17:46,520 --> 00:17:50,440
The French people are showing
their anti-Semitism here.
315
00:17:50,720 --> 00:17:54,840
The second attack is from Gabin,
"Old French aristocracy".
316
00:17:55,000 --> 00:17:58,240
Renoir, the screenwriter,
had the brilliant idea of making
317
00:17:58,400 --> 00:18:00,880
two identifiably French characters,
318
00:18:01,040 --> 00:18:04,720
to whom the French audience
of 1937 could relate,
319
00:18:04,880 --> 00:18:08,200
come out with the most stupid
and trite anti-Semitic jibes.
320
00:18:08,360 --> 00:18:11,920
"Old French aristocracy",
"Him? He was born in Jerusalem".
321
00:18:12,280 --> 00:18:14,920
We notice that Pierre Fresnay
is hanging back,
322
00:18:15,080 --> 00:18:18,560
while logically, he's a member
of the old aristocracy,
323
00:18:18,720 --> 00:18:21,840
it's 1916-17, his family
324
00:18:22,040 --> 00:18:26,000
would certainly have been
anti-Dreyfusards 20 years earlier.
325
00:18:26,240 --> 00:18:28,080
Not one word
326
00:18:28,960 --> 00:18:32,920
with even the slightest
whiff of racism about it,
327
00:18:33,080 --> 00:18:36,480
such as "Old French Aristocracy"
or "He was born in Jerusalem",
328
00:18:36,640 --> 00:18:38,280
is uttered by Pierre Fresnay.
329
00:18:38,640 --> 00:18:40,840
Some time later,
Gabin is sent to the cells.
330
00:18:41,000 --> 00:18:43,480
When he returns,
completely exhausted,
331
00:18:43,640 --> 00:18:46,560
there's someone crying
and a wonderful zoom shot
332
00:18:47,360 --> 00:18:51,200
catches Dalio wiping away a tear.
It's Rosenthal
333
00:18:51,880 --> 00:18:56,480
who says,
"I won't leave without Maréchal".
334
00:18:57,680 --> 00:19:00,440
Part two, we're in the fortress.
335
00:19:00,600 --> 00:19:02,920
Rosenthal's there in the fortress.
336
00:19:03,080 --> 00:19:06,000
Rosenthal's already worked out
an escape plan.
337
00:19:06,160 --> 00:19:08,040
He's a die-hard escaper.
338
00:19:08,440 --> 00:19:13,040
The audience of 1937
gradually starts to realize
339
00:19:13,200 --> 00:19:16,480
that Rosenthal
is more and more like Maréchal.
340
00:19:16,640 --> 00:19:19,520
The two names even rhyme.
341
00:19:19,680 --> 00:19:21,120
And they escape together.
342
00:19:21,280 --> 00:19:24,040
And then the culmination
of the demonstration,
343
00:19:24,200 --> 00:19:26,280
of Renoir's strategy,
344
00:19:26,440 --> 00:19:30,320
is the escape, the flight into
the mountains, the famous scene,
345
00:19:30,480 --> 00:19:34,240
in which, exhausted,
because Rosenthal's broken his ankle,
346
00:19:34,400 --> 00:19:37,160
exhausted, at one point
the Franco-Frenchman
347
00:19:37,320 --> 00:19:39,480
tries to abandon Rosenthal.
348
00:19:39,680 --> 00:19:42,440
You know what you are to me?
A dead-weight.
349
00:19:42,600 --> 00:19:44,120
A millstone around my neck.
350
00:19:44,280 --> 00:19:45,960
I never could stick Jews!
351
00:19:46,120 --> 00:19:47,520
A bit late to find that out.
352
00:19:47,840 --> 00:19:50,240
What does he mean,
"A bit late to find that out"?
353
00:19:50,440 --> 00:19:53,600
We've been in the same film
together for 70 minutes.
354
00:19:55,000 --> 00:19:58,440
You're taking me for the Jew
I was 45 minutes ago.
355
00:19:58,600 --> 00:20:01,680
Today, we're together.
We're leaving together.
356
00:20:01,840 --> 00:20:04,640
And what's this,
"I never could stick Jews"?
357
00:20:04,800 --> 00:20:08,960
It's the kind of insult you hurl
when you're done in and hungry.
358
00:20:09,120 --> 00:20:13,560
What's racism? The thing you say
when you've nothing better to say.
359
00:20:13,720 --> 00:20:16,120
And then Gabin goes off.
360
00:20:16,440 --> 00:20:19,920
He leaves the frame,
we lock on to Rosenthal,
361
00:20:20,080 --> 00:20:24,000
who looks down and cries discreetly.
362
00:20:24,160 --> 00:20:26,840
They both sing Le Petit Navire,
363
00:20:27,040 --> 00:20:28,840
the communication is pure Renoir.
364
00:20:39,080 --> 00:20:42,760
And then the brilliant shot
that's written in the screenplay.
365
00:20:42,920 --> 00:20:46,160
It's described in the screenplay
right down to the framing.
366
00:20:46,800 --> 00:20:51,320
We see the shot and then
Maréchal's coat enters the frame,
367
00:20:51,840 --> 00:20:55,880
and then, "Come on". He takes him
by the arm and leads him away.
368
00:20:56,720 --> 00:20:58,040
Come on.
369
00:21:01,400 --> 00:21:03,000
From then on, it's in the bag.
370
00:21:03,160 --> 00:21:05,840
Céline can get out his rifle.
371
00:21:06,400 --> 00:21:09,800
Renoir's message, that Jews are part
372
00:21:10,000 --> 00:21:11,680
of French society,
373
00:21:11,840 --> 00:21:15,200
that Jews deserve to be integrated
into French society,
374
00:21:15,360 --> 00:21:18,960
this is the message
375
00:21:19,120 --> 00:21:22,400
that runs throughout
the whole of La Grande Illusion.
376
00:21:22,560 --> 00:21:24,160
What's the answer?
377
00:21:24,320 --> 00:21:26,800
That in the end, when they part,
378
00:21:26,960 --> 00:21:30,040
when they come out of the
snow to cross the border,
379
00:21:31,280 --> 00:21:34,600
Gabin says to Dalio,
"So long, filthy Jew!"
380
00:21:35,040 --> 00:21:36,720
laughing, and they embrace.
381
00:21:37,720 --> 00:21:40,560
- So long, filthy Jew!
- So long, old chap!
382
00:21:46,400 --> 00:21:48,280
Just think what it means
383
00:21:48,440 --> 00:21:52,200
for a supporting player like Dalio,
used to playing foreigners,
384
00:21:52,840 --> 00:21:54,240
to playing "filthy Jews",
385
00:21:54,400 --> 00:21:57,400
to leave the biggest
film of the year
386
00:21:57,840 --> 00:22:00,600
in the company... in the arms
387
00:22:00,800 --> 00:22:04,840
of the biggest
star in the French cinema.
388
00:22:05,600 --> 00:22:07,240
How does the audience come out?
389
00:22:07,400 --> 00:22:10,440
They've been converted
without knowing it.
390
00:22:10,600 --> 00:22:13,000
Which is what
Céline had understood.
391
00:22:21,160 --> 00:22:23,040
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31969
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