Neighbors / La Grande Ilusion

After a great many months, I have decided to pick up where I left off. Although I love films and get an enormous amount of joy and satisfaction over watching them and thinking about them, and having seen many films between my last entry and this one, I admit that my writing and criticism skills are rather dull in comparison to myself three years ago, and especially compared to others. Having now a desire to watch and complete these film pairings, and being in a position where I have greater access to the remainder of the films I have chosen, I finally recommence my watching and writing. The short film and feature film on the docket are: Neighbours by McClaren and La Grande Illusion by Jean Renoir. I hope you enjoy!

On the brink of the Vietnam War, and the United States involvement in it, came a stop motion live-action short film by Canadian filmmaker, Norman McClaren entitled Neighbours. A simple premise of “mine” “no. Mine!” “No. Mine!” “NO. Mine! I saw it first!” unfolds into an impressive allegory of the impending wars soon to befall humanity. Many wars sought to assert dominance, and to rape, pillage and plunder natural and other resources for the victor nation’s domestic use since this short was released. The fighting, neither confirms who was right, nor does it improve one’s own status amongst many others. As the two men fight for what they believe is theirs, their modern, sophisticated attire, adorned just right—their hair perfectly coiffed, and their mannerisms perfectly docile and civilized, turns into ripped shards of vestments, and bruised and battered bodies, caked with cuts, made-up in a savage-like fashion, thus confirming that war is ugly. War, as we know is not the way to peace. It destroys us, as it destroyed the two men battling over the dancing flower. The impressive use of stop-motion provides the spectacle for this short film, whose running time is a mere eight minutes and eight seconds (give or take). No doubt this Academy Award nominated live-action short served as inspiration for future auteurs such as Terry Gilliam and Tim Burton. A beautifully shot film, very sixties in aesthetic, but very modern and prescient in presentation provides a contemplative viewer trying to connect the dots and seeing the bigger picture of what McClaren may have been going for. Love thy neighbor as thyself. Love not Hate. Peace not War. Here’s to hoping for a beautiful tomorrow.

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The first time I watched La Grande Illusion was during my college years in a dank, basement apartment with my good friend who was presenting a film viewing with other Francophiles, such as myself. I immediately fell in love with the film. The first and greatest component of this film that I adore is the movement of the camera. I don't know what it is, but when I see older films, the fluidity and voyeuristic movements of the camera, mixed with the black and white, just cause me to be enamored. Renoir knew the importance of the dolly and of moving to display the action, the different views/perspectives of the players in the scene, and the set pieces, and external shots of vistas. Of note, a scene toward the end where the window is open and as one of the soldiers leave, the camera dollies in to show the stunning view outside. One of Renoir's signatures is exploring social stratification. In this film it is explored among those of similar rank in the armed forces regardless of national loyalty. The social stratification is more overtly displayed in Renoir's Rules of the Game, but the care in which the German officer treats those French officers is extremely touching. Although the French POWs are not treated poorly (as would later be depicted in The Bridge of the River Kwai), they nevertheless, would prefer to be back in France. They attempt many times, unsuccessfully, to escape. Near the end, the French officer who has the greatest rapport with the German officer (because they literally ran in the same social circles and knew some of the same people) offers himself up as the scapegoat, while the other two made their escape and traveled south to get to the neutral country of Switzerland. During this crest of plot development, the French officer is reluctantly shot by the German officer, and subsequently dies, while the other two escape via rope out of the window. The remainder of the film involves the scuffles of the two French escapees, whilst they hide from German troops. Ultimately they encounter a German widower who takes them in and even protects them from being detected. The close quarters causes one of the French escapees (portrayed by French star Jean Gabin) to fall in the with the German cacheuse. When the two French escapees must leave to continue their journey to Switzerland, Gabin's character promises to come back to his newly formed love. As the two are trekking in the thigh deep snow crossing the border, some German soldiers finally catch up with them, but are too late as their enemies have crossed the border. The acting is pretty good, the cinematography is stellar, the message is clear and resonating. Renoir is a magic maker, a real auteur. And this film is another evidence to his genius. Although my writing is quite lacking and I cannot fully express myself on how impactful, touching, and wonderful this film is, I hope this brief synopsis and bits about the beauty of this film will cause those reading to rent it and give it a viewing.

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