Jean Gabin – Movie Musings

Friendship, class, warfare and change are explored superbly in Jean Renoir’s masterful war film

Director: Jean Renoir

Cast: Jean Gabin (Lt Maréchal), Marcel Dalio (Lt Rosenthal), Pierre Fresnay (Captain de Boëldieu), Erich von Stroheim (Major von Rauffenstein), Dita Parlo (Elsa), Julie Carette (Cartier), Gaston Modot (Engineer), Georges Péclet (Officer), Werner Florian (Sgt Arthur), Jean Dasté (Teacher)

“Cinematic Public Enemy Number 1”. That’s what Joseph Goebbels called Renoir’s La Grande Illusion on its release in 1937. It’s easy to think it’s because of its pacifist stance – the idea that war itself is the Grande Illusion – but perhaps it’s because Renoir’s masterpiece isn’t easy to dismiss as polemic. It’s intelligent enough to present soldiers who believe in fighting a war on different levels, but don’t see that as a reason to hate the enemy. La Grande Illusion is as much about the passing of an era and the important links that bring us closer together rather than tear us apart. And that of course was anathema to a Nazi regime, intent on crushing freedom of any sort in Europe.

Renoir’s film is one of the foundational war films, the first great POW drama. Two French officers are shot down while flying a reconnaissance mission over enemy lines. One is working class pilot Lt Maréchal (Jean Gabin), the other aristocratic Captain de Boëldieu (Pierre Fresnay). Moving from camp to camp, the two finally find themselves in a camp run by the German officer who shot them down, aristocratic Major von Rauffenstein (Erich von Stroheim). Von Rauffenstein and de Boëldieu have more in common with each other than the soldiers on their own side – though von Rauffenstein’s Victorian, romantic view of the world differs from de Boëldieu pragmatic awareness of the advance of change. When Maréchal and fellow prisoner, Jewish officer Rosenthal (Marcel Dalio) plan an escape, will de Boëldieu help them?

La Grande Illusion is a beautifully thought-provoking and gorgeous piece of film-making, a wonderful and hugely influential film. (It inspired, among others, The Great Escape with its tunnel digging escape exploits and Casablanca’s famous La Marseillaise scene). It’s a pacifist film, masquerading as a war film – but one where we never see any fighting. A polemic would have shown us the horrors and slaughter of the trenches. La Grande Illusion shows us men proud to be soldiers, praises their bravery, centres the cavalry-style dignity of the air-force and features just one death. What makes it more pacifist is the lack of anger or rage of its characters, their lack of rancid nationalism.

This is partly because the film explores a war at the cusp of societal change. The nineteenth century era of ‘gentleman’s war’ is passing away, as are the old societal hierarchies. Maréchal and de Boëldieu are on the same side, but when they are shot down it’s striking that they have more in common with their supposed enemies. Invited to a commiseration dinner by the victorious German pilots, the aristocratic de Boëldieu bonds with flying ace von Rauffenstein (they speak in English together, something that immediately separates them from the others, about horse racing) while Maréchal is delighted to find a German working-class pilot was, just like him, a car mechanic in Marseilles. There is no hatred here, just mutual respect.

On arrival in the camp these class differences are magnified. Maréchal (the magnificently charismatic Jean Gabin) fits in far easier with the other French prisoners, all of them either professionals (engineers, teachers and the like) or outsiders, like Jewish officer Rosenthal (a heartfelt Marcel Dalio). Maréchal is inducted, enthusiastically, into their escape attempts (including the tunnel digging) as well as the social events, like the cabaret shows. de Boëldieu is a different case: there is a faint air of distrust (one prisoner even questions whether he should be told about the tunnel), and he gently refuses to take part in any cabaret and indulges the escape attempt through a sense of fair play.

But de Boëldieu is aware his world is moving on. Superbly played by Pierre Fresnay, with a wry, breezy upper-class distance that masks an acute insight, de Boëldieu knows the future belongs to commoners like Maréchal. His world – and his counterpart von Rauffenstein – is one of horse-racing, society dinners and grand houses, where a gentleman never lets a person’s nation affect his perception of them. He takes part in the war as a final grand gentleman’s sport, but also knowing that a glorious death is “a way out” of the difficult social changes that will follow.

It’s an understanding not shared by von Rauffenstein, played by an iconic preciseness by Erich von Stroheim. Von Rauffenstein respects the word of a gentleman (during a search, he tears apart the beds of every prisoner but de Boëldieu, taking his word for it that he has no contraband), sees war as a glorious expression of masculinity but never something that should come between friends. Locked within a neck brace, his posture stiff and his hands forever in trapped in tight white gloves, there is more than a hint of the closet to von Rauffenstein – and his faintly homoerotic attraction to de Boëldieu, who he sees as a natural brother-in-arms is both sad and slightly touching.

Where do de Boëldieu’s loyalties lie though? To his social equal and contemporary with whom he shares a lifetime of upperclass pursuits, or his fellow countrymen with whom he shares nothing? It’s the core of the second act of the film, as Maréchal and Rosenthal plan their escape and ask for de Boëldieu’s help. Goebbels was no doubt also unhappy with the presentation of Rosenthal. Sure, he fits many of the Jewish stereotypes: he’s a rich foreigner whose family has bought up French land. But he’s also decent, kind, shares his food and sheds a tear when Maréchal is released from solitary confinement. Maréchal and the others aren’t above befriending him despite his Jewishness, but here Rosenthal is a hero.

He’s also part of the melting pot of characters who, though they have moments of prejudice, are fundamentally all in it together. A black French prisoner goes more or less uncommented on. In solitary confinement, a distraught Maréchal is bought a harmonica by a friendly German guard, which he then delightedly plays. The French officers join in a mutually teasing relationship with an officious German guard. The various nationalities in the prison camp all muck in on their cabaret show (and escapes – a blackly comic language barrier prevents a departing Maréchal from informing a newly arrived British officer there is an escape tunnel finished and ready to go in the camp). Despite the world is tearing itself apart, but that’s not a reason for people to hate each other.

Indeed, on the run from the prison camp, Rosenthal and Maréchal find refuge on the farm of a German mother, Elsa, and her daughter, her husband having been killed in the war. (War victories get remarkably little airtime in La Grande Illusion – the famous singing of Les Marseillaise after Maréchal announces a French victory is followed in the next scene by the Germans winning it back. In the camp the soldiers grow increasingly cynical about the shortage of promised easy victories). Maréchal and this woman form a romantic bond – with Rosenthal as translator – that again transcends national boundaries. Can you imagine Goebbels being thrilled at that paragon of Aryan maidenhood, falling in love with a lunking Frenchman whose fellows killed her husband?

Neither would he be thrilled by von Rauffenstein’s desperation to save the life of de Boëldieu, the man abetting an escape. Dancing through the POW castle, pipe in hand, literally leading the guards a merry dance, de Boëldieu stage-manages his own death to leave a legacy and avoid facing the future he knows he has no place in. There is a fatalism about de Boëldieu not present in any other character: and certainly not von Rauffenstein who can’t imagine his world is ending.

But life will go on for others. Every character has a longing for life outside of the demands of war. During the cabaret, a French officer dresses (convincingly) in drag: there is something touching about the stunned, longing silence that falls across these men as they stare upon the closest thing to a woman any of them have seen in years. Maréchal plans for a future with Elsa, Rosenthal one of acceptance in his French home. War is an encumbrance, but one people understand is a burden on all regular people.

The film is beautifully made by Renoir, who uses a series of striking long-takes and intricate camera moves to create a feeling of time and place that is completely convincing, but also hugely engaging and immersive. Characters constantly stare out of windows, stressing their isolation, or are framed seemingly encased by their surroundings. Leaving aside the technical achievements and artistry, La Grande Illusion is a heartfelt, complex and moving film that challenges and questions as much as it feels regret for a time being left behind. By avoiding polemic, and stressing simple humanity and the madness of hate, it’s one of the most powerful anti-war films ever made.

Jean Gabin and Michèle Morgan are star-crossed lovers in Quai des Brumes

Director: Marcel Carné

Cast: Jean Gabin (Jean), Michel Simon (Zabel), Michèle Morgan (Nelly), Pierre Brasseur (Lucien), Édouard Delmont (Panama), Raymond Aimos (Quart Vittel), Robert Le Vigan (Le peintre), René Génin (Le docteur), Marcel Pérès (Le chauffeur), Léo Malet (Le soldat), Jenny Burnay (L’amie de Lucien)

It translates as “Port of Shadows” and it’s the shadows you are likely to remember in this noirish tinged classic of French cinema. A major success story when it was released in France, it also stands as some sort of milestone as being one of the few films condemned by both the pre-Vichy French government and Nazi Germany. More pleasingly, it’s also a firm testament to the brilliance and vibrancy of pre-War French cinema and the creative imagination of Marcel Carné.

Jean (Jean Gabin) is a soldier on the run, deserting his regiment to lead his own life in South America. Arriving in the port of Le Havre, he ends up in a run-down bar on the edge of the town where he meets the beautiful young Nelly (Michèle Morgan) a woman on the run herself from two unpleasant men. The first is local gangster Lucien (Pierre Brasseur) a braggart with whom Jean has already had a few run-ins. The other, even more dangerous, is Zabel (Michel Simon) Nelly’s godfather, a ruthless man under a genial façade who is obsessed with Nelly. Jean and Nelly fall in love, but how far will Jean go to put his own hopes for the future in doubt to protect Nelly?

Shadows dominate Carné’s beautifully atmospheric film. Jean emerges as if from nowhere on the road to Le Havre – nearly run over by the truck driver who picks him up. The bar is buried in the mists of the town. Shadows loom from every building and throw most of the city into a mysterious half-light. The action largely takes place in backrooms and cellars. Every frame tells you from the start things will not turn out well, with every decision carrying an underplayed air of foreboding. You can just tell every moment is putting another nail in the coffin of Jean’s chances of escape to that new life. The film is a brilliant slice of noir, expertly assembled with an artist’s eye by Carné, one of the most overlooked genius directors of his era.

This darkened, gloomy style of the picture echoes the intentions of Carné and his regular collaborator, scriptwriter Jacques Prévert. The focus on the picture is the individual – in this case Jean and Nelly –trying to escape the control of both the state (the army) and also the domineering bullies that hold the local power (Lucien and Zabel). It’s no coincidence that Jean is an army deserter, and there is no sense of guilt on his part or even a fraction of recrimination is aimed towards him from anyone he encounters. Jean himself talks despairingly of the grim reality of killing and his wish to make his own choices. Carné was originally to make the film in Germany, but Goebbels was not having any film made in Berlin where the hero was an army deserter.

So instead the film was shifted – wisely – back to France, not the French government was that happy either. With Carné and Prévert’s vision of a listless, tired, corrupted France where people like Jean simply refuse (it seems) to do what they are told, and where the few representatives of local government we meet are trivial non-entities, it’s not a surprise that the film was soon being blamed for sapping French spirit. As a sop to the French criticism of the script (and many of the films backers were desperate for its downbeat nihilism to be replaced by a more conventional upbeat, romantic ending) Jean does at least show respect for his army uniform – despite everything it’s never dirty, and when he takes it off its neatly folded. Today it seems even more like an impressionistic touch.

It’s the nihilism that runs through the film. We know Jean is good guy – he encounters a dog on the road to Le Havre that follows him with a singular devotion, unable to bear being parted from him – but the film itself has a shadowy feeling of despair and destruction throughout. Jean feels like a doomed hero from the start, a passive figure despite his bravado, who impulsively drifts from event to event – it’s when he chooses to become engaged that he dooms himself. Nelly is seemingly at first a femme fatale – and her reveal is a masterstroke of cinema – but really she’s as much a victim as Jean, someone very vulnerable, lonely and scared who wants a way out but can’t see how to even begin to find one. But then even the nemesis that runs through the film is low-key and trivial – Lucien is a joke, while Zabel for all his creepiness is also little more than a novelty gift shop owner.

The power of the film comes from seeing these two trapped figures surrounded by a world of darkness, listless depression and emptiness. And of course from the performances. The film is a reminder again that at this time Jean Gabin may well have been the greatest actor in the world. With a cigarette dangling, raffish cool under a surly salt-of-the-earth taciturnity, he turns Jean into the sort of enigmatic noir-hero years before the term was evented. Dripping with charisma in every frame, he’s both a Bogartish cynic and a De Niroish slice of muscle, a working class martyr. Nearly as good is Michèle Morgan, vulnerable and yearning into a surface of sexy cool. The two make a winningly attractive pair, not just sexy but with a growing romantic feeling.

It’s no wonder Jean throws himself into threatening and roughing up the pathetically weasily Lucien (Pierre Brasseur very good as a weak-willed bully who can lash out with the viciousness of a child) and squaring up to domineering Zabel. Michel Simon is terrific as the grandfatherly shop owner whose own dark obsessions and possible perversions become harder and harder to ignore. These two very different threats stand at opposite ends of the film and both contribute to its bleak ending.

Because of course Jean isn’t going to make that boat. The act of violence the film finally unleashes – after all that foreboding warning that it’s coming – is suitably shocking in a 1930s way, while the eventual fall of Jean is both fitting and also tragic in its low-key abruptness (it was later echoed by Brian de Palma in Carlito’s Way). With its gloomy atmosphere, its grim foreboding but also passionate love story at its heart, Quai des Brumes is a classic of French poetic realism.