La Grande Illusion

Film Analysis

1. As you describe in detail the opening scene (narrative & visuals--elements of mise-
en-scene)--discuss what is established thematically. What is Jean Renoir suggesting
about war, class, codes of behavior as established by the opening of this film?

I found myself having to watch this scene a few times in order to really grasp what was
going on. It was difficult at first to try to follow captions and while also paying attention
to elements of mise-en-scene, but after the second time I watched it, it became much
more clear.

In the opening scene, we are introduced to Lieutenant Marechal who seems to be a bit
laid back at the time. The scene is set in a restaurant where light music is playing and
there are many officials sitting around, eating and drinking. It appears to be a place for
working class men. Marechal is singing along to the tune of the music and then has a
conversation with another man about going to meet a woman named Josephine. He asks
the man if he is going to Epernay and if he would take him there to see Josephine. The
man says he will be going in a half hour and then as he leaves, he says, "You've no
monopoly!" In which Marechal then replies, "Who cares!" as he laughs and walks back to
his seat and begins to sing to the music again. Then another man walks in, telling
Marechal that a staff officer would like to speak with him. Marechal replies with, "He
sure picked a rotten time." Referencing his meeting with Josephine. As Marechal and the
other officer walk out of the room. The camera turns to show a bartender pouring alcohol
into a glass and then pans in to show a poster below the bar that reads, "Alcohol kills!
Alcohol drives you mad! The Squadron leader drinks it!" Since this sign states that "the
Squadron leader drinks it", it leads me to think that this was put in this clip to give us a
feel of what class Marechal was in. A Squadron leader is a commissioned rank in the
Royal Air Force and in my personal opinion, it was almost as if to mock the Royal Air
Force.

Once Marechal and the man get into the next room, Marechal is introduced to Captain De
Boeldieu. Right from the start you are given the sense that De Boeldieu is of higher class
than Marechal. He is dressed much nicer and uses a glass piece in order to see more
clearly what he is reading. He tells Marechal that he is worried about a gray spot on the
paper that they are looking at. Marechal says it's either a canal, road or railway. Marechal
says that the picture was misty and De Boeldieu says he would still like to clear things
up.

The entire opening scene really gives you a sense of who Marechal is and how laid back
and care free he seems to be. From the scene of where he is hanging out in the working
man's restaurant, how he is singing along to the music as if he doesn't have much on his
mind, how he wants to meet up with Josephine and says Captain De Boeldieu has terrible
timing when he wants to see him instead of Marechal going to see Josephine. This is also
an example of what Renior may have wanted to portray in codes of behavior. Marechal is
more interested in a date he has with a woman, whereas De Boeldieu is concerned with
the war and what needs to be done. Another example would be when they are in the
office and De Boeldieu seems very concerned with the gray spot on the picture where
Marechal acts as if it is not that big of a deal.

An example of the difference in class would be that the first scene takes place in a what
seems like a blue collar type of restaurant where there is alcohol being served, and a sign
that is warning those against drinking because the Squadron leader drinks it. You then
meet De Boeldieu who is dressed much nicer than Marechal and seems much more
concerned than him.

2. There are many barriers that separate the men in the prison camp and outside
the camp: language, uniforms, class, education, military status, religion, professions
in life before war, disease etc. Describe and discuss 2 of the best scenes where these
barriers are overcome in what your text calls the theme found in Renoir films of
"social disintegration" pg. 132. Remember--along with what happens also describe
the cinematic techniques (film term list) that reinforce the narrative content.
Class distinctions advance the films central theme regarding the dangers of creating
boundaries between people. The three main characters represent different classes in
society with Boieldieu as the aristocrat, Rosenthal as the wealthy middle-class man, and
Marechal as a member of the working class/blue collar. At one point there is a discussion
about how the various classes would be eliminated if it werent for war. The war tends to
bring the different classes into close contact, although it is the misunderstandings
between these groups that often leads to war.
Boieldieu frequently questions why he gets special treatment from Rauffenstein, giving
off the impression that he knows what the social differences are between himself and the
other men even though he disagrees with it. Marechal says that everything comes
between him and Boieldieu, yet he keeps his guard up, refusing to let him thank him or
become emotional. It seems that Boieldieu realizes the time for his kind has passed and
tells Rauffenstein that perhaps it would be good for them to die in the war when he says,
"For an ordinary man, it's terrible to die in war, but for you and me, it's a good solution."
The beginning of the film when they have their first meal with each other in the prison
camp. They discuss topics that each individual may have their own interpretation of but
at the same time have insightful understanding of each ones view. The focus of the
discussion hits home when close-ups shots of each individual and their topic of where to
have a glass of wine shows the depth of how much they miss being back home and have
the ability of freedom.
Also, you get a sense of comradary at the table. Marechal is having a hard time cutting
his meat and one of the German officers offers to cut it for him. You see here that no
matter the differences in background between the two, they are willing to help each other
and overcome those differences.
3. Although Boeldieu and Marechal are both captains, Commander von
Rauffenstein treats Boeldieu differently. Explain why. How does Renoir visually
convey Boeldieu's and Rauffenstein's closeness as well as their separateness?As you
describe specific moments from the film to support your answers--also address
elements of mise-en-scene like costume, body language, props etc.

Right at the beginning of the film, we get a sense that Rauffenstein treats Boeldieu
differently. In the part where they are all having dinner around the table, Rauffenstien and
Boeldieu sit apart from the others, although at the same table and speak only to each
other in French and English. You get a sense of the separation of class and as if they
believe they are of higher stature than the others. Even at the same table, Rauffenstien
and Boeldieu are unwilling to give up difference in class.

When they arrived at the castle that Rauffenstien was at, I noticed that Rauffenstien only
shook Boeldieu's hand and not Marechal or Rosenthal's. Almost as if he didn't respect
them as much as he respected his fellow career officer and aristrocat, Boeldieu. We also
get a sense that he respects him more when they have a room inspection and Rauffenstein
asks Boeldieu if everything is clear in their room and that they aren't hiding anything. He
is the only one who isn't searched in the room. There is still a separation of class between
them compared to the others.

Shortly after that, Boeldieu and Rauffenstien are alone in a room of the castle. They are
both smoking and seem to be engaging in friendly conversation with one another. At one
point, they both sit down and continue their conversation where you get a sense that they
have known each other previous to the time spent at this castle. Rauffenstein then says he
would like to tell Boeldieu something and says that his job disgusts him as much as it
does to Boeldieu. He says, "I used to be a fighter. Now I am a civil servant. A police
man. But it is the only way in which I can still appear to be serving my country."
Boeldieu then asks why Rauffenstien made an exception for him to invite him there.
Rauffenstien replies by saying, "You are Boeldieu, a regular officer of the French Army
and I, Rauffenstien, a regular officer of the Imperial German Army." Boeldieu then says
that his friends are officers too and Rauffenstien says, "Thanks to your French
Revolution!" Boeldieu replies, "Neither you or I can arrest the march of time." This scene
shows that Rauffenstein is still thinking that they are of higher class whereas Boeldieu is
defending his friends that he has made despite their class. This shows a divide between
the two aristocrats.

In this scene, I notice their body language. When this conversation starts, Rauffenstien
stands up as if he is uncomfortable or on the stop when basically saying how he has no
respect for Marechal or Rosenthal. Meanwhile, Boeldieu is sitting down and looking
quite comfortable. He is comfortable with the conversation of defending Marechal and
Rosenthal of being good soldiers. The body language in itself, shows a separation
between the two.

4. Watch how the camera moves. It often tracks or pans instead of cutting. When it
moves on its own we are conscious of it actively interpreting the action, creating
suspense or giving us information about various characters. Describe and interpret
2 scenes where this technique is most affective.

I did notice that the camera did not cut in this film, but rather panned. I first noticed when
Marechal walks to the back where Boeldieu wants to speak to him and the camera pans
on the bartender pouring alcohol and then the sign that is under the bar.

One time where the camera panned and truly caught the emotion of the room and gave us
information about the men at the camp was when one man dressed as a woman came out
and all the men stopped and stared as the camera panned around the room at their
reaction to the man dressed as a woman. You could really get a sense that they have not
seen a woman in a long time. In my opinion, it was better that the camera panned around
the room instead of cut to each person's face for a close up shot of their reaction because
you really got a sense of the number of men watching the man dressed as a woman and
just how big the room was and how many eyes were on him.

Another time was when they were transferring to Rauffenstien's castle and the camera
pans on the land and the scenery. You really got a sense of a journey that they were on
and how maybe the new prison they would be at was much farther away from society.

Another time was when Rauffenstein was giving them a tour of the castle. Marechal
asked if the villa was built only for him and Boielieu. Rauffentstein replied by saying,
"Your comrades are behind there", as he pointed to the castle walls, Marechal has
somewhat of a worried look on his face and then the camera slowly pans onto the castle
walls. I think that this almost gave a sense of danger laying ahead and made the audience
very suspenseful in wondering the condition of the other men behind those walls.

One last scene where there is use of camera panning is during their theatre performance.
Marechal has found out that the town of Douaomont has been captured but the French.
He runs out on stage to announce it to everyone. The camera then cuts to a man dressed
as a woman who urges the band to play music. The camera then pans around the room
from the singer to Marechal holding a newspaper and glaring at German officers then
pans to the audience, back to the singer and then pans to the full audience who are
standing up and singing. Since there were no cuts and only pans, we get a sense of unity
and power and that all the prisoners have come together to act as one.

5. Describe the ending of this film that centers on the unlikely partnership of
Marechal and Rosenthal. How do you interpret the film's title and its conclusion?

I actually really loved the ending of this film. Marechal and Rosenthal came together and
you saw how much they really loved each other in the end. There was a scene where
while they were trying to make their way back home, they both grew tired of each other
and started to bicker. They told each other that they hated one another and hoped they
would never see each other again, Marechal said that Rosenthal was a dead weight
around his neck. They started to walk off in different directions. Rosenthal said, "I hope I
never see you again! I like singing at the thought!" He began to sing and so did Marechal
as he walked off in the other direction. Rosenthal began to cry and Marechal came back
over to him a few moments later. He told him to get up and carry on and they did.
Because of Rosenthal's emotional reaction of being split from Marechal and because
Marechal came back for him, really shows their love for one another.

This takes place before WWII and these characters had been illustrating the entire movie
how the conflict of the first war was about to worsen in the second. The two of them
becoming close and caring for each other is a very unlikely partnership because one is
French and one is German.

I don't think there is specially one "grand" illusion, but many smaller illusions that almost
every main character portrays. For instance, for as many relationships and bonds that we
watched form, the strong bonds could never outlast the conflict of the war. This, of
course, is just one theory because I hope that there friendships would outlast, especially
Marechal and Rosenthal since they had weathered so much together. Another theory that
I have about the title of this film is maybe it is about how they were always thinking that
the war was soon to be over. For instance, one example of where they said it was when
one soldier wanted to plant daisy's at the first prison they were at and the other replied,
"This war will be over before your daisy's grow". At the end of the film, Marechal says
that he hopes this war will end wars forever and that he will be able to return to Elsa. Elsa
is also living an illusion in hopes that she won't be alone any longer and will be able to
fill the table where her daughter was sitting and eating in a scene where Elsa says the
table has grown too big since she lost her husband and brothers. Boeldieu and
Rauffenstein live an illusion of their own too in their ways of clinging to this notion of
their class and aristocratic ways.