William Benker
Comm 340
Marty Norden
3 December 2007
Subtle value, Strong Statement
Jean Reniors “La Grande Illusion” illustrates several different social issues of the World War I era. Through the use of dialogue, actions and reactions, Renior weaves the web of society throughout the German prison camps. Many times in the film, characters will act without speaking to signify an issue involving society. Renior mentions in the prologue that the La Grande Illusion is a film about relationships, which he feels is the most important issue to discuss. Between social class, education, language and even the power of music, Renior creates a work that speaks through many mediums on several different levels. A viewer must watch and re-watch the film in order to gather all that LaGrand Illusion has to tell.
Captain de Boeldieu is a product of high social standing and a true gentleman of the French army. Through careful characterization, Renior molds together a hero who is seemingly unaware of society’s classifications. Boeldieu sometimes questions the unfair treatment of his comrades when he witnesses it second hand by Rauffenstein. Ultimately Boeldieu’s ignorance of this mistreatment allows the audience to see how deep his aristocratic values are imbedded. Complete with consistent wit and intelligent ideas, he accepts the war, which has “no room for sentiment.” Boeldieu mirrors Rauffenstein, though his intentions are more subconscious.
During a meeting between the two high-class officials there is a discussion regarding the war itself. Rauffenstein ponders his current place in life and the past with Boeldieu. Uncertain who will win the war, the two officers agree that once the war is over, it will be the end of them. Renior uses this speech to foreshadow World War II. “They will never be conducted in the interests of the men who fight them,” Penelope Gilliatt, a film historian, claims while interpreting Renior’s idea of war. As a means of communicating to the audience, Renior and his characters are speaking of high society in fighting for their country. Speaking from the film, the two men embody intelligence, nobility, and honor to ones “fatherland”, which would have no place in World War II. Boeldieu states, “perhaps there is no more need for us,” as the horrors of the future war and failing social order could never be associated with any form of intelligence or nobility. Renior makes his anti-war statement clear.
Rauffenstein seats Boeldieu next to himself as they begin to discuss writers. Across the table, Marechal talks with another German to discuss their own past as mechanics. Two different subjects reflect each soldier’s rank in society, as Renior again establishes a border that is prominent throughout the film. Bouldieu is the only one offered a handshake when approached by another man of such superior rank and class. Using a variety of different languages, German Captain Rauffenstein treats Bouldieu with deep respect and apologizes frequently for the inconvenience of war. Rauffenstein sees Marechal and Rosenthal as inferiors, and implies that their word is not as sufficient as upper class officers. Bouldieu sacrifices himself in his own aristocratic style, but does so for his country. Rauffenstein acknowledges this sacrifice, and the social-class come together in the noble man surpassing the lines of rank to strengthen his country.
The lack of sentiment creates an optimistic view of man, rather than war. Subtle bits of emotion filter throughout the narrative creating a comical rhythm. Music has a strong theme in La Grande Illusion and unifies the men. Marechal is mad from isolation in the tiny cell and shouts, but is then given a harmonica by a German officer to pass the time. The German officer is then questioned regarding the noise from Marechal, he responds, “Because the war is lasting too long”, and it is again revealed to the audience that this battle is not between men, but two higher powers unconcerned with the soldiers well being.
“Where there are Germans, there is order,” a guard states blankly while sitting down at a table. The great distraction that the French must create is performed by an onslaught of small flutes. This creates disorder among the men, as a German officer laughs, and loses his composure when they first become aware of the music. Soon enough the men are sent to stop the disturbance immediately, but the laugh has deconstructed the German order for just a moment. The clearest use of music to connect all people comes when Marechal and Rosenthal are fleeing to Switzerland. The two men become irritated with each other and storm apart to fend for themselves. Though soon after, their singing re-unites them and brings them back to their senses.
Within La Grande Illusion’s songs and dance, the non-diegetic sound also reveals the music’s unifying nature. Boeldieu’s final heroic distraction, which allows his comrades to escape, mixes nobility with theater. While Boeldieu is parading around the rooftops comically, the music of the film is heightened. Short shots between Marechal and Boeldieu resemble that of a stage performance. Climbing the well-staged stairs, Boeldieu’s performance is more theatrical in that particular scene then his usual well-composed manner. Renior unites Boeldieu’s aristocracy with his final noble act of playing a flute. Just as Marechal and Rosenthal reach the ground to escape, a non-diegetic background score is played to finalize the entertaining performance and ends the scene. In fact, the final sounds of the scene could almost resemble applause.
Although the camaraderie inside the prison camp is generally optimistic and friendly, some social boundaries do make their way inside the prisoner’s world. Renior creates several other characters to involve that have their own stories to tell. While studying a map in the castle Marechal basically ignores a man that approaches him to view his piece of art. Also there is a man that has brought countless poetry books with him, studying them in most of his scenes. But there is very little mention of these side characters afterwards, as the anonymity of war can change perspectives quickly. The war has broken social boundaries between men, but in the scheme of things, war is useless. There is no resolution at the end, but leaves the windows of uncertainty open, revealing that the war will always continue. In fact, the only concrete evidence of any progression in the war is the capture of “Douaumont”, another Fortress. The Germans recapture the fortress, and again nothing changes. Fueling Reniors voice telling the audience that there is no resolution in war, and it changes nothing.
The finale shift of the film finds a number of relationships left for the audience to ponder over. Marechal and Rosenthal eventually find refuge in the home of a war-torn widow named Elsa. Elsa, a German who has also been a victim of the war, creates a symbiotic connection between the two countries. Marechal must leave in order to fight again (as Rosenthal pointed out) and displays how destructive war can be on everyone, not only those who participate in it. But Marechal and Rosenthal’s escape signal an optimistic union between two men. A French officer and a Jewish garment designer escape together to continue a multi-cultural voyage to safety.
In conclusion, the message in La Grande Illusion is ultimately anti-war. A self-proclaimed pacifist, Renior uses his characters, settings, relationships, and acts to tell a tale of people, and not war. The war is never shown in the film, and has no reason to be, as it still changes nothing. Only when we see the men step outside the war may the audience see more clearly that the ultimate conflict remains unresolved. Bouldieu and Rauffenstein represent a time that has past, in wars when men fought with honor and love for their country. In the film rests an omni-present theme that things are changing in the world of men and filter throughout the narrative, foreboding a future in a dreary light. There is an underlying foreshadowing of future wars between two powers and the idea of the war being over is never taken seriously throughout the film.
La Grande Illusion looks at the men who must fight the wars of politicians. In one particular scene the comical actor pretends to step through the barbed wire fence. Beyond the fence is the same setting, and men march through the streets in an orderly fashion. Regardless of the physical boundaries that are separating the world from man, it is the imaginary fences that force them to act. Renior portrays the Germans as friendly, and merely maintain order for the sake of their country. The director extracts the constructed beliefs of the Germans as evil, and shows them as any other people doing what they must to serve their “fatherland.” La Grande Illusion is about relationships, and perhaps a clear depiction of a war between what Renior proclaims, gentlemen.
Annotated Bibliography.
For the paper I made sure to use a published version of the original script to deliver clarity within the dialogue. My paper discusses the different methods Renior uses in his subtle language to describe to the audience the absurdity of war. Pierre Leprohon’s book on Jean Renior goes into many details regarding the film, saying Renior “goes beyond this confrontation” and that, “war is empty and useless”. Beyond that I was able to find some very useful information Leo Braudy’s “Jean Renior: The World of His Films”, which went into great depth in several scenes and discuss the many relationships that contain so much meaning. Penelope Gilliatt’s work on Jean Renior discusses Reniors personal view of war and relationships more in depth through essays, conversations and reviews with the director himself. For some early research of the picture I used http://filmsdefrance.com to gather a better idea of the film I would be writing about and the warmth the film is given by its actors. As well as www.culturevulture.com to again see first hand the many reviews of the film before I had the chance to see it myself. All the sources were very helpful. Those that went into specific detail regarding scenes, actors and dialogue were especially helpful
Renior, Jean. La Grande Illusion Screen Play. Lorrimer Publishing Limited: London, 1968.
Gilliatt, Penelope. Jean Renior: Essays, Conversations, Reviews. The Viking Press, Inc. London, 1975.
Braudy, Leo. Jean Renior: The World of His Films. Doubleday & Company, Inc. Garden City, New York, 1972.
Leprohon, Pierre. Jean Renior. Crown Publishers, Inc., New York, 1971.
Block, Tom. “La Grande Illusion.” http://www.culturevulture.net/Movies/GrandIllusion.htm
Travers, James. “La Grande Illusion.” http://filmsdefrance.com/FDF_La_grande_illusion_rev.html, 2001.