Grand Illusion

Papa Cinema at its best. This is the kind of movie that the French New Wave was aiming to discredit (sort of). The lasting power of ‘Grand Illusion,’ however, has proven itself to be far greater than that of ‘a Bous de Souffle.’ ‘Breathless’ and many of her close cousins (pun intended) lack something very ‘grand’ that ‘Grand Illusion’ billows with: Heart. As cynical and pragmatic as its characters are, the film as a whole builds a giant sentimental tower of hope and sadness. This tower takes on the form of a big dark smoke cloud, representing the Great War. Now, this is all in my imagination, but this film inspires exactly that, despite its very obvious roots in shameful reality.

The cavalier spirit of the people in this movie is juxtaposed with the utter stupidity of the war itself. This is the "grand illusion," the feeling of honor and respect concerning war, the misconception that it is a divine right to be loyal to one’s nation. This film doesn’t condemn loyalty, exactly, nor should it. More Loyalty to nation is something our countries of today would be greatly improved by, but to kill neighboring people with a stupid proud grin of nationalism is plainly blind. The people in the film are ignorant of the magnitude of the war and its wretchedness. This film treats its characters as human, not villainous morons who know nothing of life, but it simultaneously exposes the ignorance of their actions, on all sides. There is no "superior" nation, or superior race, and this film illustrates that with a careful force, being gentle but not glossy.

I love this film for its action and dialogue as well. Beyond the grand themes is a beautiful film; beautifully directed, acted, written, and photographed. Although some of the characters are shallow caricatures based both in history and the actors’ various fames, they are an engaging ensemble of proud idiots. The third person camera that is so prevalent in so many French films does detract from the sentimental humanism of the film, but it has its purpose. It allows an objective portrayal and a detached starting point. This perhaps allows more truth to find its way onto the screen in the end. A lot does, after all, which alone is enough to separate it from the Nouveau Vague fantasies.

I defend the papa cinema, yes, and I rag on the New wave, I do, but I really have no animosity for the Godards and Chabrols and etc. I simply think they were cruel and stupid in resenting their cinematic past. I’m glad they didn’t repeat it and continue the cycle of "grand" filmmaking, but there is a lot of worth in the French Films of the early century that does not deserved to be shunned. Cocteau, Ophuls, and Renoir have talents the Godards and all could only dream of. The opposite is true with gall and stubborn resolve of a movement, but the old ways are not to be mocked on my watch (in my column). They may be dinosaurs, but they are geniuses. Renoir’s ‘Grand Illusion’ is perhaps the best illustration of that.