THE SHADOW ARMY
France, 1969, 140 minutes, Colour.
Lino Ventura, Paul Meurisse, Simone Signoret, Jean- Pierre Cassell, Serge Reggiani.
Directed by Jean- Pierre Melville.
The Shadow Army is based on a book by Joseph Kessell, a classic portrait of the French Resistance. It has been adapted for the screen and directed by Jean -Pierre Melville, director of a number of classic French gangster films including Un Flic and the masterpiece, Le Samourai (both with Alain Delon).
He uses the techniques for his gangster thrillers in presenting the life of the underground resistance, the dangers they experience, their sabotage activities.
The film is in colour, rather a surprise because this kind of film was generally made by French directors in black and white. The star is Lino Ventura, star of a great number of French dramas. He gives a solid performance as the very serious-minded controller of the Resistance. Included in the supporting cast are Jean- Pierre Cassell and Simone Signoret.
The film is a grouping of episodes, focusing on each of the significant characters, the dangers that they encounter, imprisonments and escape, contacts in London, arrests and torture, executions. The film is detached in its presentation, yet quite emotional in its presentation of its characters, especially in Simone Signoret as a very capable Resistance leader who eventually, in concern for her daughter, becomes a danger to the group and is herself killed.
The film is an examination of conscience for French audiences of the decades after the war, a look at the Vichy government, collaboration, the Resistance and the support of the Free French in London under General de Gaulle.
1. A portrait of the Resistance? French perspective? Tribute to the Resistance? An honest look at the personalities, the dangers, the interactions, the hard and harsh decisions that were made? An examination of the French conscience?
2. Colour photography, the atmosphere of the '40s, the Vichy government and the southern areas of France, the contrast with London? The action sequences? The musical score?
3. The title and the focus on the Resistance? Its identity, means of warfare?
4. The voice-overs and the various personalities telling their stories? The detached recitation? The implied emotional commitment and the moral dilemmas? The distancing effect for audiences responding to the film? The invitation to involvement and understanding of the characters?
5. The initial focus on Philippe? A mysterious gentleman, arrested, the interviews, the prison camp and its alleged luxuries - the members of the hut community? The dying man? The routines of the camp? The decision that he had to be watched? The plan for escape, the execution of the plan? His subsequent story, working with the Underground, with Luc and his son, Marseille, with Matthilde? His discovery of the traitor, the execution? His going to London, the contacts, General de Gaulle? The decision to return to France, the concern about Felix in prison, the parachuting in, Jean-Francois? and his getting into the prison, the torture, the deaths? The chance arrest and his being imprisoned? The execution and the chance to run? The decision to run, the wall, Matthilde and the organisation of the escape? His contact with Luc? The developments throughout the war, the imprisonments and executions? Matthilde becoming a danger? Her death? His own imprisonment and death?
6. Luc, the professor, his books? His commitment to the Resistance? Contacts? The French baron and his sympathies? Luc's son and his commitment? Activities, sabotage? His execution and torture? Jean-Francois?, his relationship with his father, support, getting himself arrested - the anonymous letter? His torture, the cyanide pills, wanting to support Felix at the time of his death? Felix and his work, imprisonment, the plan to get Felix transferred - Matthilde and the others disguised as nurses and doctors, their being accepted by the Gestapo? The futility of their plan?
7. Matthilde, her background, her skills, organisation? Her strength of nerve? The various escapes - at the prison wall, disguised as the nurse on behalf of the Gestapo to rescue Felix? As a person, her warmth? Her concern about her daughter? The dangers of her giving names to save her daughter - her being assassinated in the street?
8. Occupied France, the collaborators, the presence of the Germans, the soldiers? The Underground and loyalty, betrayal? Ordinary life in Marseilles and the country towns? The contrast with England, the Free French, the relaxed atmosphere of London - the dances - and General de Gaulle and his strategies? The dangers of returning to France?
9. Non French audiences and the possibility of understanding the experience of France during World War II?
