2022 Blind Spot Series: Army of Shadows

 

Based on the novel by Joseph Kessel, L’Armee des ombres (Army of Shadows) is the story of various individuals in the French Resistance during World War II as they deal with the sacrifices and struggles during the war against Nazi Germany. Written for the screen and directed by Jean-Pierre Melville, the film is a study of the live in the Resistance as well as what people had to do to fight against Nazi Germany as well as making uneasy decisions in the war. Starring Lino Ventura, Paul Meurisse, Jean-Pierre Cassel, and Simone Signoret. L’Armee des ombres is a rapturous and chilling film from Jean-Pierre Melville.

Told in the span of a year from 1942 to 1943 in Vichy France during World War II, the film follows the lives of a few individuals who are involved in the French Resistance as they deal with fighting and scheming against Nazi Germany while also making uneasy decisions. It is a film that explore a few key individuals who are part of this resistance against the Nazis as they all have to make uneasy decisions as it would involving having to kill those who become a liability in exposing the Resistance. Jean-Pierre Melville’s screenplay is straightforward in its narrative yet it has strands of characters it follow with a Resistance leader in Philippe Gerbier (Lino Ventura) who is first seen arriving at a prison camp where he is later transferred to the Gestapo only to escape as he runs a network with longtime friend Felix Lepercq (Paul Crauchet), a burly veteran in Guillaume Vermesch aka Le Bison (Christian Barbier), and a young recruit in Claude Ullmann aka the Mask (Claude Mann). The first act is about Gerbier’s brief time in prison, his escape, and also uncovering a traitor prompting him to take action.

The second act is about an unexpected meeting between Lepercq and a former pilot in Jean-Francois Jardie (Jean-Pierre Cassel) whose older brother is the philosopher Luc Jardie (Paul Meurisse) whom Gerbier admires. Jean-Francois would also gain the support of a woman in Mathilde (Simone Signoret) who would become part of Gerbier’s network and later run things during the third act when Gerbier is captured. Still, there are a lot of complexities in the film’s second half about the demands of being in the Resistance but also the fact that someone can’t carry any sentimental value as it would have them link to family who might know something or be used as blackmail. Even as a few would be captured and endure brutal torment by the Nazis as it play into how dangerous things were during Nazi Germany’s occupation of France.

Melville’s direction is entrancing in its presentation as it is shot on various locations in France including parts of Paris including a shot of the Arc de Triomphe where Nazi soldiers are marching in the foreground with the Arc in the background. Melville’s direction definitely emphasizes less on many of Paris’ familiar sites in order to create an atmosphere of a world that is bleak and intense. Melville’s usage of the wide and medium shots do play into the world that is Vichy France where there is a lot of attention to detail in the prison camps, the prison cells, and other places as location is key to the film. Notably in the scene where Gerbier first escapes and then hides at a barbershop where a barber (Serge Reggiani) would help him as it helps set a tone for some of the moments of suspense. One of which include Gerbier trying to get aboard a British submarine to meet with British officials in aiding the Resistance as well as the return back on plane where they had to endure anti-aircraft attacks. There are also these elements in the direction such as a scene where Jean-Francois is stepping out on a train as he is carrying something important to the Resistance as he has to find a way to pass the Nazi guards.

Melville also maintains some offbeat elements such as Gerbier in London where he finds himself in a dancehall where British military personnel are dancing while bombs are falling around them as well as a scene in a prison where the Nazis give the prisoners a chance to survive. There are also these intense moments where Melville would use close-ups as things do intensify in the third act as it relates to not just setbacks and uneasy decisions but also what is at stake for the Resistance. Even as things get personal and an air of uncertainty emerges into who to trust and how the Resistance can move forward. Notably as the climax and its aftermath is about all of the uneasy decisions one have to make during war and the sacrifices they are forced to make to free their own country from the hands of another. Overall, Melville crafts a gripping and intoxicating film about the life of a few individuals working for the French Resistance.

Cinematographer Pierre Lhomme, with additional work from Walter Wottitz, does amazing work with the film’s cinematography with its emphasis on natural lighting along with soft light for some scenes including its emphasis on grey and blue colors to help set a visual tone for the film. Editor Francoise Bonnot does brilliant work with the editing with its stylish usage of transition wipes, jump-cuts, and other stylish cuts to help play into the suspense and drama. Art director Theobald Meurisse and set decorator Roger Volper do excellent work with the look of the prison cells, the houses the characters hide out at, and some of the places they go to. Costume designer Madame Colette Baudot does fantastic work with the costume as it does bear some style with the men wearing suits as well as the uniforms the French police and the Nazis wear with Mathilde wearing all sorts of clothes including a nurse’s uniform during an attempted prison break.

The makeup work of Maud Begon is terrific for the way two major characters look following their interrogations with the Nazis in how badly they were beaten by them. Sound designers Jacques Carrere, Alex Pront, and Jean Neni, with sound editing by Robert Pouret, do superb work with the sound in the way gunfire sounds as well as these scenes where it revolves around the location to play into the suspense. The film’s music by Eric Demarsan is incredible for its eerie music score with brooding string arrangements as well as its usage of an organ to help maintain a suspenseful mood as it is a highlight of the film.

The film’s marvelous cast feature some notable small roles from Adrien Cayla-Legrand as Charles de Gaulle, Nathalie Delon in an un-credited appearance as Jean-Francois’ date at a bar, Anthony Stuart as a Royal Air Force major, Colin Mann as a British pilot who gives Gerbier instructions on his return to France via parachute, Albert Michel as a policeman at a train station, Alain Mottet as a commander at a prison camp, Serge Reggianni as a barber who helps hide Gerbier following his prison escape, Alain Libolt as a young man who is revealed to be a traitor to the Resistance, Jean-Marie Robain as a baron who aids the Resistance in giving them a temporary home base and such, Denis Sadler as a Gestapo doctor, and Andre Dewavrin in a brief appearance as himself in the role of a Resistance colonel. Christian Barbier and Claude Mann are superb in their respective roles as the Bison and the Mask as two members of the Resistance who take part in some of the killings and such with the former being the most loyal including towards Mathilde while the latter is a newer recruit who proves to be resourceful.

Paul Crauchet is fantastic as Felix Lepercq as an older member of the Resistance who is close with Gerbier as he would later be captured by the Nazis and endure some of the most physical brutality in their interrogation methods. Simone Signoret is amazing as Mathilde as a member of the Resistance who helps in organizing things including an attempted prison break for Lepercq as well as other things as she proves to be loyal despite her own faults as it relates to her life at home. Jean-Pierre Cassel is excellent as Jean-Francois Jardie as a former pilot who joins the Resistance while giving Gerbier access to his older brother only to find himself at odds with some of the ideals of the Resistance. Paul Meurisse is brilliant as Luc Jardie as a philosopher who joins the Resistance as he is someone that Gerbier admires while also being someone who has ideas with the Resistance that would alienate some. Finally, there’s Lino Ventura in a phenomenal performance as Philippe Gerbier as a leader of the Resistance who gets captured while trying to maintain his rule as well as keeping the Resistance a secret from the Nazis as well as having to make uneasy decisions knowing what is at stake as it is a restrained yet unsettling performance from Gerbier.

L’Armee des ombres is a magnificent film from Jean-Pierre Melville. Featuring a great ensemble cast, mesmerizing visuals, an eerie music soundtrack, and chilling suspense in its relation to life during World War II in German-occupied France. It is a film that definitely showcases a lot of the actions of the French Resistance as well as why they had to operate in the shadows as well as doing things that others might not want to do in war. In the end, L’Armee des ombres is an outstanding film from Jean-Pierre Melville.

Jean-Pierre Melville: 24 Hours in the Life of a Clown – Le silence de la mer - Les enfants terribles - (Quand tu liras cette letter) - Bob le flambeur - (Two Men in Manhattan) – (Leon Morin, Priest) – (Le Doulos) – Magnet of Doom - Le deuxime souffle - Le Samourai - Le cercle rouge - (Un flic)

© thevoid99 2022

Le Samourai

Originally Written and Posted at Epinions.com on 1/13/10 w/ Extensive Revisions.

One of the key figures of French cinema, Jean-Pierre Melville was one of the first film directors to create films outside of studios and through his own means. A major influence to the French New Wave movement, Melville's idea to shoot on real locations was something different to his work in comparison to the French films being made during the 1950s. In the 1960s, he was revered by many as making acclaimed films throughout the decade. One of them would be considered one of his finest which featured of France's best actors of that time in Alain Delon entitled Le Samourai (The Samurai).

Directed by Jean-Pierre Melville and based on the novel The Ronin by Joan McLeod. Le Samourai tells the story of a hitman who lives by a strict code of rules and maintains a certain form of perfection in his job. During an assignment where something goes wrong as he finds himself in trouble. Adapted into script by Melville and Georges Pellegrin, the film is a mixture of 1940s American crime films with 1960s French New Wave style along with the mythology of the Japanese samurai as Alain Delon plays the title character. Also starring Francois Perier, Nathalie Delon, and Cathy Rosier. Le Samourai is a smart, hypnotic, and stylish thriller from Jean-Pierre Melville.

Jef Costello (Alain Delon) is a hitman that lives in an apartment with a little caged bird that's based on a strict lifestyle from the ideas of the samurai. For one particular assignment, Costello steals a car with his set of keys to find which one to start the car as he goes to a secret place to get a gun, money, and a new license plate for the job. After visiting his girlfriend Jane (Nathalie Delon) to create an alibi of where he was at between 7PM and 2AM as he goes to a nightclub to kill its owner. He succeeds only to be seen by the nightclub's pianist Valerie (Cathy Rosier) as he is suddenly pursued by the police and caught. Despite having no criminal record, the police superintendent (Francois Perier) believes that Costello fits the description of the assassin.

During a line-up description where Valerie attends, the bartender (Robert Favart) and a couple of witnesses claim it's Costello as Jane is asked to come to the police station. Yet, Jane's former lover Weiner (Michel Boisron) claims to have seen someone fitting Costello's description at an apartment at around 1:45 AM as Costello was let go due to lack of evidence. While the superintendent decides to have Costello followed, Costello decides to meet his employer (Jacques Leroy) at a bridge where things go wrong as he is aware that he's followed. Costello hopes to meet Valerie into why she didn't say anything as an attraction ensues.

With the superintendent hoping to catch Costello by placing a bug in his apartment, Costello goes on the search for the man his employer is working for as paranoia starts to happen. Based on evidence found at Costello's apartment, the superintendent and his men question Jane who realizes that something is wrong. With the cops tailing him and a man wants him for a new contract to kill someone, Costello makes a move where he would get himself in the clear.

The film is a tribute of sorts to 1940s gangster films where the character of Jef Costello has a look that is very 1940s with a Fedora hat, a suit, and trench coat. Yet, with its French New Wave aesthetics and a tone that is similar to Japanese cinema. It's a film that definitely transcends various styles while taking a genre and turning into something that is very different from what audiences would expect in a thriller. It doesn't have a lot of action nor does it have any fast-building moments of suspense. It's a film that takes it time like the character of Jef Costello does in planning things out.

The screenplay that Jean-Pierre Melville and Georges Pellegrin create is definitely inspired by the works of Japanese cinema. Notably the samurai films of Akira Kurosawa where the film begins with a fictional quote that is attributed from The Book of Bushido. It is in that quote where audiences get to know who Jef Costello is for the first 10 minutes which almost has no dialogue at all. A man who lives a certain lifestyle. Not with a lot in his apartment and by a strict code of rules. A perfectionist who does his job and that is it. He creates alibis, steal cars with set of keys that where he needs to find the right one. Go somewhere far away from the city of Paris to get a gun, a bit of money, and the license plate removed.

Then when a mistake happens when he is suddenly seen, everything goes to hell and tries to get himself out of trouble only to realize he's in a whole lot of trouble from both the cops and the people who hired him to kill a man. At the same time, there's a police superintendent who is an antagonist of sorts but is one with morals and lives by his own set of rules. Knowing that he Jef Costello could be the killer of the nightclub owner, he does what he has to do to get the truth. Even if he has to harass a young woman with threats and a chance to have her name cleared up. The script is about what men will do for their own means as it's really a battle of wits between two very disciplined men.

Melville's direction is definitely full of stylish shots and striking compositions to give the film a tone that is quiet and hypnotic. The first ten minutes is nearly dialogue free until Jef comes to Jane's apartment where she only says his name near the 10 minute mark. A lot of what happens is just Jef Costello doing what he's doing in preparation for what he's going to do. Yet, there's not much dialogue that Jef Costello says throughout as he remains this stoic persona who maintains his cool unless he gets into some trouble where he makes some moves of his own. Melville's camera is always on something from the shot of objects to establishing shots that would prove to be crucial to the story and what is going to happen. Even in scenes where there's great tracking shots that move slowly to what Costello is doing or what is going on around him. The result is Melville maintaining a sense of style and wit into his direction that works to the fullest.

Cinematographer Henri Decae does an amazing job with the film's colorful look with the dark look of Jef's apartment to the bright colors of the apartments where Valerie and Jane stays in. The exterior look of Paris is often filled with low lights depending on its mood which plays up to what Melville needed while the scenes in the police station are shot with a sense of claustrophobia and lights that conveys a far chilling mood. Decae's work is truly superb in its lighting schemes and camera movements for what Melville needed. The editing by Monique Bonnot and Yolande Maurette is great in its slow yet methodical pacing for the first act of the film to more fast-paced cuts in some of the film's action sequences. With the use of rhythmic jump-cuts to keep some of the momentum going, one of the film's striking moments in the editing is the use of side-wipe transitions which is definitely a tribute to the work of Akira Kurosawa, who is famous for those transitions as the editing works in maintaining its sense of style.

The production design/set decoration work of Francois de Lamothe is brilliant for its mood and personalities of where the characters live in. From the dark yet open-space look of Jef's apartment to the stark yet clean look of the police station and office. The art direction and set design is truly fascinating while the look of the club in its clean, glamour look is the epitome of cool but also something that isn't entirely accessible. The sound editing of Robert Pouret is excellent for its sense of atmosphere from the tense feel of the police station to the chaotic work that is Paris in its trains and the city itself. The nightclub scenes are presented in an intimate fashion with jazz music playing in the background throughout. The music score of Francois de Roubaix is wonderful for its jazzy feel with its sense of melancholia and nightclub rhythms that keeps the momentum going in some places while it is mostly played for a calm, suspenseful feel.

The casting is superb with some memorable small roles from Andre Salgues as a garage keeper, Michel Boisrond as Jane's other lover Weiner, Robert Favart as the nightclub's barkeeper, Catherine Jourdan as a hatcheck counter at the club, Jacques Leroy as an employer of Jef, and Jean-Pierre Rossier as the man who ordered the hit on the nightclub owner. Cathy Rosier is very good as Valerie, a jazz-pianist who is smitten by Jef while being the only real witness to see what had happened as she is very understated throughout the film. Nathalie Delon is also good as Jane, Jef's secret lover who maintains his alibi while being very cool when she is being confronted by the police superintendent.

Francois Perier is great as the superintendent who suspects Jef Costello while trying to do all the he can with some rules to catch the guy. Perier is often very calm and at times, plays it cool a bit in his scene with Nathalie Delon as it is definitely remarkable role for the late, great actor. Finally, there's Alain Delon in what is definitely one of his most iconic performances as Jef Costello. Though restrained for the most part and not with a lot of dialogue to speak. Delon's stoic performance is nothing short of cool as he maintains a sense of discipline and charisma to his character. It is definitely one of Delon's finest work of his career.

Released in 1967, the film was considered to be one of Jean-Pierre Melville's finest work. The film would have such an influence on young filmmakers that several paid tribute to the film in various ways. John Woo payed tribute to it with his 1989 film The Killer while he would end up writing an essay for the film's 2005 Criterion release. In 1999, Jim Jarmusch paid tribute to Melville and the film with his own samurai-style hitman story called Ghost Dog: The Way of the Samurai with Forest Whitaker's character maintaining the same code of rules and a set of keys just like the Jef Costello character.

Le Samourai is a cool, stylish film from Jean-Pierre Melville featuring a phenomenal performance from Alain Delon. Fans of hitman stories and stylish thrillers will no doubt enjoy this film while it also serves as a worthy introduction to the works of both Jean-Pierre Melville and Alain Delon. It's a film that kind of gets to a slow start at first but once the audience gets into it, it become a whole, worthwhile experience. In the end, Le Samourai is a fantastic, unconventional film from Jean-Pierre Melville.

Jean-Pierre Melville Films: 24 Hours in the Life of a Clown - Le silence de la mer - Les Enfants Terribles - (When You Read This Letter) - Bob le Flambeur - (Two Men in Manhattan) - (Leon Morin, pretre) - (Le Doulos) - Magnet of Doom - Le deuxieme souffle - Army of Shadows - Le Cercle rouge - (Un flic)

© thevoid99 2011