«Au Revoir Les Enfants» (1987)

 Stop acting so pious. There's a war outside

In 1974, Louis Malle released «Lacombe Lucien» - a film that made France to confront itself during World War 2. 14 years later, he decided to revisit his childhood memories and made «Au Revoir Les Enfants». What can we say about it?

Winter of 1943-1944. A descendant of a wealthy Parisian family Julien Quentin returns to his Catholic boarding school. Everything goes as usual except for arrival of three new students, including Jean Bonnet. The new boy raises suspicions because he does not eat pork and bathes separately from others. Maybe he is a Jew…

The Director portrays a life of a boarding school in occupied France. The students lead a relatively privileged life; they are fed well and does not fully understand and grasp the scale of raging war. They despise the German troops and collaborationists and repeat the propaganda clichés about filthy Bolsheviks. For them Jews are outsiders and, in reality, they do not care about them.

During Holocaust in France, the French society often distinguished between «Les Israelites» and «Les Juifs». The first category was considered French with a different surname and they were accorded compassion and possible protection; the latter category was treated, in the best case, with indifference and, in the worst case, they were handed to Gestapo.

As in «Lacombe Lucien», Louis Malle does not try to paint the history brighter than it was in reality. The French society is trying to lead an ordinary life and the worst among them are trying to profit from it or join the collaborationists. The film avoids simple caricatures, even in its portrayal of German soldiers.

The Christian theme played a prominent role in Nazi propaganda. The Nazis tried to portray the war as a noble Christian Crusade against godless Judeo-Bolshevism. Obviously, the Christian themes became compromised in the minds of certain Europeans, including students of this particular boarding school.

The children are not interested in boring sermons about compassion, charity and corruption of wealth. In reality, they should listen to it, because their teachers are living those values and not using them as a propaganda tool. One day they will understand it and it will haunt them for the rest of their lives. But what can children learn about courage, if their parents are passive? The answer is up to you.

«Au Revoir Les Enfants» is a haunting film about real Christian values and a genuine moral courage of a few. Watch it and think.

«Un héros très discret» (1996)

 The most beautiful lives are those we invent

France between World Wars. Little Albert Dehousse admires novels about heroes. His mother claims that her late husband died for France in the First World War. This story is disputed by the neighbors, but who cares? When the Second World War broke out, Albert misses his chance to be a real hero. Still, he pretends to be a writer by plagiarizing other person’s work and, in process, wins over a beautiful girl. After the war, he goes to Paris and becomes a Resistance hero.      

The collective national unconsciousness always tries to clear out some painful or shameful episodes. The post-war France adopted the legend that the populace was actively resisting occupation and only a few renegades were collaborating. Therefore, many active collaborationists avoided prosecution by claiming that they were working for Resistance. Some of them were even able to occupy important posts in the French government.

Other people claimed that they were in Resistance in order to advance themselves in the post-war society. Albert Dehousse luckily places himself into collective rewriting of history. He starts out by appearing in newsreels with returning POWs and frequenting reunions of old resistance fighters. There he hears war stories and begins constructing his heroic biography. Albert is very successful and he is able to enter the circle of high-ranking persons.

Why this film was released in 1996, if the war ended 51 years ago? One of the reasons was that France was rocked by Maurice Papon trial. He was a collaborator who, among other things, organized deportation of Jews, but after the war he was able to escape prosecution by reinventing himself as a loyal Gaullist. He occupied many important posts, including Prefect of Police in Paris and Minister of Budget.

Of course, Albert was not complicit in any war crimes. He is portrayed as a person with a vivid imagination, who is able to successfully reinvent himself. The post-war France desperately needed a lot of new heroes and he was able to ride that wave. Only one day his heroic credentials will be put to a real test. Will he be able to pass that test? I will not spoil it.

The film captures well the contradictions of the French society. The film director inserts a lot of interviews with historians, writers and war veterans, and they all give a very confusing portrayal of Albert’s so-called heroic deeds. What about the hard truth? It is not very popular, if you able to reinvent yourself and make others to believe in it. Such Alberts were all over Europe, even in the Soviet Union.

«Un héros très discret» is a very good film about rewriting of history. Watch it and then read some real post-World War Two stories. I bet you, that that you will find that postwar Europe was full of Alberts - men who reinvented themselves and were believed because society needed to believe.

«Il portaborse» (1991)

A Medieval Court in Modern Italy: Corruption and Patronage in Il portaborse 

Professor of literature Luciano Sandulli desperately needs money to fix his old house. His ghostwriting does not produce a lot of money but he secured a position as a speechwriter for the Minister of Industry Cesare Botero. This job can quickly fix all of his financial problems but Luciano understands that Cesare Botero is much more immoral and corrupt than everybody thought.

By the late 20th century, Italian political class was famous for its rampant corruption. As one commentator said about Italian Socialist Party “the convent is poor, but the friars are rich” and those words can be applied to Italy – country with lots of political and economic problems, but it’s governing class drove Ferraris and lived in mansions.

Cesare Botero reminds us of the Medieval feudal lord, who has to pay a token respect to the late 20th century values. He smiles on camera, takes part in television interviews and has to put himself up for the reelection. Nevertheless, the only thing that he cares about is enrichment. His people also get a share of profits, but it can be finished in a second. If the person compromises himself or stops being useful, he will quickly discard him as a used ammunition.

Luciano Sandulli is portrayed as a simple and decent man who suddenly became useful to the lord. At first, he is at the margins of corruption and he is able to enjoy the fruits of his new status. Still, one day he will need to take part in something very dirty in order to show loyalty to Cesare Botero. One of his top students already became corrupt lawyer, but will Luciano follow the same path or will he choose to remain human?

Still, this is not an American film, where one brave person can destroy the corrupt system. The Italian political system has lots of Cesare Botero who will always find a way to add an extra bunch of votes and who has many patronage jobs in exchange for favors. So, why bother yourself with truth, if it only leads to life in poverty, if you can stay loyal and useful to the lord and earn a lot of money in the process?

Nevertheless, the history can be unpredictable sometimes. In 1991, the Italian ruling class was invincible, but in the next year, they suddenly became vulnerable for prosecution. Despite that, the result was not very encouraging.

If you are interested in Italian political history – watch this story about a Medieval court in the late 20th century Italy. 

«Salò, or the 120 Days of Sodom» (1975)

All's good if it's excessive 

Jeffrey Epstein’s island continues to resurface in world media. People periodically rediscover that certain wealthy and powerful individuals recognize no limits in the pursuit of pleasure. The story is not new; it merely changes its setting. It was written by the Marquis de Sade in the eighteenth century and given cinematic form in the last film of Pier Paolo Pasolini («Salo, or the 120 Days of Sodom»).

Set during the final days of the Republic of Salo, the film portrays the four figures of authority – the Duke, the Bishop, the Magistrate, and the President – who sense that the Republic’s days are ending and they decide to grant themselves the final indulgence. They kidnap nine young men and nine young women and confine them in a secluded villa. There, four old prostitutes tell elaborate stories to stimulate the imagination of the masters. After that, the structured and ritualistic degradation commences.

The totalitarian system completely reorganizes reality and reduces a human being to a mere part in the system. Human beings are stripped of names, identities and even grammatical recognition. They are merely «it» and even God is forbidden. Four impeccably dressed men have pushed Him from His throne.

At certain moments, the humanity can be restored to a certain person. Still, it is granted at the mercy of the Masters and it can be taken back in a second. These rights are not inherent; they are granted at the Masters’ discretion.

 

Certain resistance exists, but is brief and annihilated without spectacle. Most victims attempt a different concentration camp strategy: survival through betrayal. They denounce each other in order to buy a few more extra hours of life. Totalitarian systems replicate themselves not only through terror but through the offer of minor elevation to a human status, but it means becoming an executioner.

In the final sequence, Pier Paolo Pasolini even dehumanizes the death. Executions occur without speeches or ideological proclamations. Screams are muted and we watch the process through binoculars. Their death looks like the destruction of worn-out furniture.

 

There is no place for justice within the world of «Salo». Some perpetrators may face consequences when regimes fall, but most others will quietly dissolve back in the civilian world. Their capacity to objectify and rationalize excess will not disappear after a political change.

Pasolini’s film is not for everyone. It repels and disturbs. Still, it is not about shock content – it is about what happens when power is insulated from consequence, when pleasure is detached from reciprocity, when human beings are treated as disposable components within a closed circuit of privilege.

It is precisely here that the parallel with Epstein becomes disturbing. In order to see this parallel, you need to watch the film and answer this question by yourself.

«Bravo Two Zero» (1999)

 WORLD WAR II MOVIE SET IN 1991

The Gulf War, aka The Desert Storm, was one of the last high points of the collective Western World. In 1990, all of the major Western powers formed a coalition, joined by certain Arab states, and drove Saddam Hussein back from Kuwait.

«Bravo Two Zero» deals with one of the episodes of this war – an eight-member SAS team was dropped into Iraqi territory to track Scud missile sites, so that Iraqis will not be able to attack Israel. They are elite soldiers, but the trouble soon starts kicking in – the radio is not working, the ammo is not unlimited and, the most important of all, the desert hides a lot of painful surprises for them.

During the beginning of the Gulf War, US President George H. W. Bush emphasized that this would not become another open-ended Vietnam-style war, and that troops would return home once the mission — liberating Kuwait — was completed. Additionally, the military were able to control the flow of information to the journalists, so the viewers were presented, mostly, with the state-approved positive images.

This gave the Gulf War the feel of a moral and justified war. That is why «Bravo Two Zero» has a clear World War II cinema spirit - the good guys are fighting in a just and moral war and they are seen as heroes by the general public. It is not like the Vietnam War film (i.e. «Platoon») where you feel the immorality or, at least, questionability of soldier’s actions.

Additionally, the film is not a high-budget American blockbuster, but it gives it the feel of authenticity. The soldiers are regular British blokes with funny accents; they cannot fire 200 rounds without reloading and, despite their superior training, they cannot hold off forever against Iraqi armor. Will they make it? Watch – and find out.

The film also captures the spirit of Special Operation Forces. Those guys are dropped deep behind enemy lines and from that minute they are basically fighting by themselves. Danger surrounds them everywhere and even if they are able to call in support, it will arrive not so fast and every extra minute takes away their chances of surviving this day.

So, in conclusion, let me say that given the current sorry state of the Western World, «Bravo Two Zero» is a refreshing look at the strong and resilient West of the past. Watch it – you will not be disappointed, of course, if you are not loony left! 

«Matador» (1986)

 Sex and Violence, Death and Silence 

An ex-matador Diego Montes has a paraphilia – he gets sexual gratification from watching female murders in the movies. He runs a bullfighting school and one of his students – religiously repressed Angel, - desperately tries to prove his manhood. The student tries unsuccessfully to rape a girl and, after that, he claims that he is guilty in a series of murders. The police commissioner is not convinced is that this neurotic kid is capable of such things, but is there any evidence to find the true murderer?

Red is the color which is associated with two things – sex and violence. The bullfighting is strongly associated with the red muleta, which is used during the final stage (the tercio de muerte or «the third of death»). Skilled matadors are rich, famous and desired by women. Nevertheless, the legalized ritual murders of animals and adrenaline addiction could seriously change the psyche of the matador and make them highly unsuitable for regular life.

Catholic teaching is strongly against pre-marital sex and promiscuity. Angel wasn’t lucky to be born with the religious mother, who repressed his sexuality and who is constantly controlling every aspect of his life. Still, the hormones, mixed up with the distorted psyche, makes an explosive thermonuclear cocktail. It surely exploded, but who is the true culprit behind those horrific murders? Watch and find the answer.

Media could sexualize the violence, especially in thrillers and horror movies. Pedro Almodóvar distorts the traditional cliches of Italian giallo movies. In his world, the attractive women are like bulls, who are running towards the red muleta of a dangerous person. Still, there is one unusual twist, like in the best giallos of Dario Argento. I am not going to spoil it; I hope you will be as pleasantly surprised as I am.

«Matador» is a good dark comedy about sex and violence in Spain of the 1980s. If you are not very impressionable or moralistic, then check out this film.

«Emmanuelle» (2024)

 Mélodie d'amour chante le coeur d'Emmanuelle

 

There are films which will hardly impress the modern viewer, but they are very important in the history of the cinema. One of such films is the very first Emmanuelle by Just Jaeckin, which even got X-rating in the initial American release. Nowadays, this film is suitable for a kid, who graduated from the first grade in the elementary school.

There were numerous sequels and rip-offs, but most of them are not even worthy of googling. What about a remake? Not even one until 2024. How can you reshoot a film from an age, when the Sexual Revolution just started, and people were much more impressionable. Sounds funny, isn’t it? I think so too, but I have decided to satisfy my curiosity. Was it worth it?

No, absolutely not. The author completely lost the spirit of the original novel. The novel, if you are oversimplifying it, was about a woman who is discovering her sexuality in the Orient (Thailand). This time it’s about a woman who comes to Hong Kong to check the luxury hotel and who just gets laid by some irrelevant persons. Sounds interesting or tempting? Absolutely not.

What about beautiful scenery? The original «Emmanuelle» movies always took you for a ride in some beautiful parts of the world (Thailand, Hong Kong, Seychelles, Brazil). This time we see only the lobby and the rooms of the luxury hotels and some generic streets and cafes. Yes, you could watch beautiful landscapes on YouTube, but if you want to remake a film, at least take something good from the original (it’s beauty).  

Actress? Silvia Kristel wasn’t a bombshell, but she captured the childish naivete and innocence of Emmanuelle, who becomes a clay in the hands of her husband Jean and Mario and turned into a devotee of free love. Noemie Merlant doesn’t radiate anything, and all her scenes only make you yawn from boredom. I think Naomi Watts would have been better Emmanuelle; she got much more spark.

Sex? Of course, modern viewer have seen everything in the high school, but nothing beats the sensitivity of the first four Emmanuelle films. In this film sex is boring and mechanical and it feels like almost real sex in night club’s bathroom. We want to watch these films for some escapism, and we need some good music for it, which is also absent in the film. Additionally, there is no playfulness in it and the film tries to present its story in serious way or maybe the director hasn’t realized what kind of story she wanted to give.

The tagline for original «Emmanuelle» was «X was never like this». It perfectly captured the spirit of the film, which was, despite its adult film rating, a playful and beautiful story without excess on physiology, and you could watch with your girlfriend. The new «Emmanuelle» failed in everything, and you could watch it with your girlfriend only in one case - if you are both suffering from insomnia.

Better check out «Supersex» - a funny Netflix-series about Rocco Siffredi.