LES VIOLONS DU BAL

France, 1974, 110 minutes, Colour/Black and white.
Jean- Louis Trintignant, Marie- Jose Nat, Gabrielle Doulcet, David Drach.
Directed by Michel Drach.

Les Violons Du Bal is a film about a director (the equivalent of Michel Drach himself) wanting to make a film about his childhood in France during World War Two and the plight of the Jews. He is able to organise the production for the film and then in flashback there are scenes of the film and of the director's childhood. Audiences are familiar with this kind of material from such films as Louis Malle's Lacombe Lucien and his Au Revoir les Enfants.

Jean- Louis Trintignant was one of the most significant French actors in the latter part of the 20th century and brings dignity to the role of the director. Michel Drach's then wife Marie-Jose? Nat portrays his mother and his son David portrays him as a child in the film. There is a moving performance by Gabriellie Doulcet as the grandmother.

This was the year that Francois Truffaut made Day for Night so there was a focus at the time on the details and conflicts in film-making. However, the emphasis is very much on a memoir of the war years in France.

1. The significance of the French title, the English sub-title? The indic¬ation of themes?

2. Describe the overall impact and effect of the film. The black and white photography, the later use of colour? The significant presentation of past and present? The sets and the revisiting of old sets in present conditions? The initial discussions about the making of the film, the discussion about commercial film-making and audience expectations? How did this provide the setting for the themes of the film?

3. Comment on the film's distancing its audience and yet involving it? How did it do this? The presentation of the identity of the director, his son and wife taking the parts? The effect of the change from the direc¬tor into a professional actor? What message was communicated about film-making, of making films on serious themes in the present, producers and big budgets as regards humane themes? As a vehicle for communicating messages about the war and the past?

4. The importance of the initial impact of the 1970s background? The details of film production, the seeking out of locations, the quality of photography, the student and the discussion with the actor? The prof¬essional actor taking the director's place? The significance of the ending and comments?

5. The importance of seeing the film as a selection of memories, autobiograph¬ical memories? Audience response to this as differing from response to fiction? The shift from past to present and the emotional impact on the audience? Response to the personality of the director? His promoting himself? His using film to explore himself and his memories?

6. What were the main themes of the films war, childhood, France, Jews, oppression, poverty, humanity? How well were these themes presented and explored? How significantly?

7. The film's focus on David? How appealing and engaging a child actor? His being filmed initially with his parents? With the professional star? His personal style and the qualities of his acting? The authenticity? As portraying his father? The presentation of the young Jewish boy in France, in the war? At school, at home, suffering? Understanding and not understanding? Being involved in suffering, especially the escape? As growing up into the film director?

8. The 1940's themes were clear. What influence did they have in the 70s? The film's showing the interplay of themes during these times?

9. The portrayal of war and its horror? The focus on the Germans, on their oppression? The fact that no deaths were visualised? Yet the experience of terror and suffering?

10. The film's war message through the portrayal of family? The importance of the family bonds and ties? The humanity and warmth of love and kissing?

11. How significant was the presentation of Jews in France? The explanation of Jews in France at the time? Christianity? The young boy's presence tinder a false name at a Christian school and its effect? His bringing this home to his family?

12. Natalie and the presentation of the brothers? The portrayal of character in depth?

13. Comment on the detail of the film in presenting life, home, school. The child's view of being a Jew? The Catholic school? The boy telling his cousin the truth? The boy involved in such a desperate escape?

14. The sympathetic portrayal of the mother? How important was the strength of her character? Her relationship with her son? Her coping with situations? Her relationship with Melanie? Melanie's way of life in Paris? Her helping the family?

15. The portrayal of the Germans and their stealing what the family had?

16. The portrayal of the French helpers: their helping, yet their greed and exploiting, leaving the family in danger?

17. Comment on the momentum of the desperate escape. How involved did the audience become? Why? The skill in film-making in this portrayal of escape?

18. The optimism behind the making of this film and exploring of values? The pessimistic basis also about human nature, war and greed? How valuable a film experience?