Army of Shadows is a masterful war/spy film told with intelligence and a distinct tone (through Melville’s mature style)— and draped in a jaw-droppingly beautiful and consistent mise-en-scene of muted blues, grays, and midnight indigo day-for-night shots
day-for-night shots
Opens with an impressive prologue—German soldiers goose-stepping past the Arc de Triomphe—Melville fills the entire frame
Meticulous in the visual design from the color palette chosen by Melville, to the rain and night sequences
just after the opening credits– clearly setting the visual tone- a gorgeous wall-art shot here
The score sounds a little like a precursor to John Carpenter’s Halloween
Greys, blues, very bleak to match the mood— from the sweaters and scarfs to the wood in the furniture and clearly fussed over background dilapidated buildings
Melville’s trademark masculine stoicism—war games
We get 3 separate voice-over narrators—first the Vichy prison warden (which sort of sets up that it’s going to move around a little because he’s out of the film quickly) to the main protagonist Lino Ventura and then later to Jean-Pierre Cassel
Steely cold sapphire day for night sequences – stunning
blue night lighting — remarkable
Certainly would make a good pairing with Spielberg’s Munich though Melville’s work is superior
Patient in the storytelling—again—atmospheric—but the whole time you’re just mesmerized by the detail in the visual design
A great shot framing the doors as Ventura is waiting to be tortured—there’s a German at the very back of the frame so we have three depths of field
A great shot framing the doors as Ventura is waiting to be tortured—there’s a German at the very back of the frame so we have three depths of field
There’s more time spent on the anxiety of whether the barber is going to rat him out (he ends up handing him a trench coach which is a Melville signature) than the murder that just took place
Even the drapes at the house for the excruciating execution of the turncoat are clearly hand-picked by Melville and his production design two
I couldn’t find the shot but there’s a gorgeous mise-en-scene with two men, two chairs, and two open doors- carefully arranged- it would’ve made Ozu proud
this isn’t the shot I mention just above here but it’s close– another stunner, the men playing cards, the open door,
The night scenes are all paintings—the cove sequence in particular
The night scenes are all paintings—the cove sequence in particular
Gone With the Wind in the text
and the brief scene with actor portraying de Gaulle (reported a big reason why the film was rarely seen at all in 1969 upon release)
a marvelous dialogue-less sequence when Ventura is inspired (or perhaps that’s only my reading) by the British in London as they do not blink at all during a raid. They are dancing and walking down the streets. Or perhaps Ventura views them as naïve.
The framing of the body slumped over the chair handcuffed—it’s repeated again with Jean-Pierre Cassel
repetition on imagery- near the beginning of the film
near the end
James Sanford –Kalamazoo Gazette “Although it has several suspenseful sequences, “Shadows” is not a spy thriller, precisely. It’s much more along the lines of a melancholy mood piece”
The visual design is consistent with Le Samourai – desaturated—primary colors would look incredibly out of place- Very Eastwood 2000’s decade Million Dollar Baby-ish
The screenplay in spots—perfection “What a strange carousel”—I found this to be devastating
In many ways a war film with no battles—plenty of trench coats—which is perfect for Melville
A stunner of a shot of a hallway in the prison—reminded me of the hotel in WKW’s In the Mood For Love shot
A stunner of a shot of a hallway in the prison—reminded me of the hotel in WKW’s In the Mood For Love shot
the gut-punch epilogue with how they all died. Cyanide, torture, decapitated…
the formal ending- bookends Arc de Triomphe—
Ebert “As one of his films after another is rediscovered, Melville is moving into the ranks of the greatest directors. He was not much honored in his lifetime.”
This is one of your masterpiece ranked films I wanted to give the time of day for a long time. I’m amazed by how this wasn’t appreciated at the time of its release, even with the de Gaulle troubles and his association with the Resistance rendering it a taboo subject. It’s literal cinematic bliss.
The comment about its being a melancholy mood piece is spot on. First and foremost, what one notices is the colours, the mise en scene, the atmosphere – everything here is perfect. It’s all blue and dark and gloomy with gorgeous photography (I think a lot of credit should be given to the restorations – they did wonderful work with this one) and it’s simply perfectly paced. It doesn’t move too quickly, it doesn’t rush and this choice by Melville reflects the way that the Resistance manoeuvred through Nazi occupied France – strategically, cautiously. On Criterion Melville is characterised as French cinema’s underground poet, and seeing this film I think it’s not without reason. I also believe he was a member of the Resistance himself or at least somehow involved with it, but I am not certain. The approach is strikingly cold, also baring interesting similarities with the way the Resistance decided on the elimination of those perceived as traitors, the distant austerity in dealing with moral dilemmas and human weakness. You never feel any of these people is truly safe. The darkness and just sheer blue-ness of it all makes for some wonderful compositions – the one you singled out at the cove is simply brilliant and a marvel to look at from beginning to end (a minor spoiler here: also interesting to see how Cassel is completely unaware of his brother being the chief – I think the right term is ironic). The mise en scene is also very impressive, particularly the shots in the prison cells and camps – minimalistic but bleak.
As for the narrative, it is unexpectedly enthralling. Few films are mood pieces as much as Army of Shadows and even fewer also encompass a narrative that rolls. Suspense is built slowly and carefully at particular moments, though there is an ominous feeling throughout. This is a film that manages to have characters walking in and out of its ensemble at any given moment and it all ties up brilliantly by the end. Also, you can’t really go without mentioning how wonderful the score is, it plays beautifully against the gloominess of the film and enhances it. Even with all its cinematic value and colour, Army of Shadows is strangely grounded in reality. It doesn’t glorify the Resistance one bit. The way we are informed on how everyone dies near the end even gives us a sense of meaninglessness. But it, even though it comes close to it and even deals with the theme of the whole endeavour being futile, it is in the conviction of our protagonists that we maintain our faith in these people’s struggles. Saving one life is enough for it to matter. Resisting on its own matters.
Lino Ventura’s performance in this film is a study on stoicism, pensiveness and quiet inner bravery, strength and perseverance. He carries the entire film, is the clear lead of a rich ensemble and our vehicle throughout. He has moments of acting brilliance – running from the bullets, facing the “army of Shadows”, realising and accepting the demise of his comrades. He is always focused, logical and yet somehow senses the inevitable when it is near – self preserving intelligence and instinct are important issues in the context of the film. His voice over work is also remarkable. On a per minute ratio, however, Simone Signoret probably delivers the best performance in the bunch. She is nearly absent for the first hour and goes on to become perhaps the most pivotal character for the second part (which appears to be a thing with her – Diabolique, Room at the Top – she always has limited screen time, even when she’s clearly lead, and somehow always makes the best of it). The sequence of scenes when they visit the nazi basis to release one of their associates who was captured is all her – a masterclass on how to convey everything with one’s eyes, without the slightest change in facial expression or body language. Her unease, discomfort and, ultimately, frustration and quiet pain are all apparent just through her icy, yet turbulent gaze.
I was so glad I managed to catch this one. It is to me a clear masterpiece.
@Georg- I’m so happy you managed to catch this one as well. Good timing as I’m just starting to put together notes for my 1969 page updates and Army of Shadows is top of mind. Your recap of Ventura and Signoret here is spot on– really well done. I also like the “The darkness and just sheer blue-ness of it all makes for some wonderful compositions”– indeed. And yes, praise warranted for the restoration.
This is one of your masterpiece ranked films I wanted to give the time of day for a long time. I’m amazed by how this wasn’t appreciated at the time of its release, even with the de Gaulle troubles and his association with the Resistance rendering it a taboo subject. It’s literal cinematic bliss.
The comment about its being a melancholy mood piece is spot on. First and foremost, what one notices is the colours, the mise en scene, the atmosphere – everything here is perfect. It’s all blue and dark and gloomy with gorgeous photography (I think a lot of credit should be given to the restorations – they did wonderful work with this one) and it’s simply perfectly paced. It doesn’t move too quickly, it doesn’t rush and this choice by Melville reflects the way that the Resistance manoeuvred through Nazi occupied France – strategically, cautiously. On Criterion Melville is characterised as French cinema’s underground poet, and seeing this film I think it’s not without reason. I also believe he was a member of the Resistance himself or at least somehow involved with it, but I am not certain. The approach is strikingly cold, also baring interesting similarities with the way the Resistance decided on the elimination of those perceived as traitors, the distant austerity in dealing with moral dilemmas and human weakness. You never feel any of these people is truly safe. The darkness and just sheer blue-ness of it all makes for some wonderful compositions – the one you singled out at the cove is simply brilliant and a marvel to look at from beginning to end (a minor spoiler here: also interesting to see how Cassel is completely unaware of his brother being the chief – I think the right term is ironic). The mise en scene is also very impressive, particularly the shots in the prison cells and camps – minimalistic but bleak.
As for the narrative, it is unexpectedly enthralling. Few films are mood pieces as much as Army of Shadows and even fewer also encompass a narrative that rolls. Suspense is built slowly and carefully at particular moments, though there is an ominous feeling throughout. This is a film that manages to have characters walking in and out of its ensemble at any given moment and it all ties up brilliantly by the end. Also, you can’t really go without mentioning how wonderful the score is, it plays beautifully against the gloominess of the film and enhances it. Even with all its cinematic value and colour, Army of Shadows is strangely grounded in reality. It doesn’t glorify the Resistance one bit. The way we are informed on how everyone dies near the end even gives us a sense of meaninglessness. But it, even though it comes close to it and even deals with the theme of the whole endeavour being futile, it is in the conviction of our protagonists that we maintain our faith in these people’s struggles. Saving one life is enough for it to matter. Resisting on its own matters.
Lino Ventura’s performance in this film is a study on stoicism, pensiveness and quiet inner bravery, strength and perseverance. He carries the entire film, is the clear lead of a rich ensemble and our vehicle throughout. He has moments of acting brilliance – running from the bullets, facing the “army of Shadows”, realising and accepting the demise of his comrades. He is always focused, logical and yet somehow senses the inevitable when it is near – self preserving intelligence and instinct are important issues in the context of the film. His voice over work is also remarkable. On a per minute ratio, however, Simone Signoret probably delivers the best performance in the bunch. She is nearly absent for the first hour and goes on to become perhaps the most pivotal character for the second part (which appears to be a thing with her – Diabolique, Room at the Top – she always has limited screen time, even when she’s clearly lead, and somehow always makes the best of it). The sequence of scenes when they visit the nazi basis to release one of their associates who was captured is all her – a masterclass on how to convey everything with one’s eyes, without the slightest change in facial expression or body language. Her unease, discomfort and, ultimately, frustration and quiet pain are all apparent just through her icy, yet turbulent gaze.
I was so glad I managed to catch this one. It is to me a clear masterpiece.
@Georg- I’m so happy you managed to catch this one as well. Good timing as I’m just starting to put together notes for my 1969 page updates and Army of Shadows is top of mind. Your recap of Ventura and Signoret here is spot on– really well done. I also like the “The darkness and just sheer blue-ness of it all makes for some wonderful compositions”– indeed. And yes, praise warranted for the restoration.
[…] Army of Shadows – Melville […]
@Drake,
Can Jeanne Moreau excel at portraying Mathilde?