Tag Archives: World War II

Army of Shadows (1969)

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“Philippe Gerbier, age 41, distinguished civil engineer. Quick-witted, independent in character, a detached and ironic attitude.”

This film about the French Resistance spans the period from October 1942 to February 1943. It has been more than two years since the France fell to the military might of Nazi Germany, and much of the country has become resigned to its fate as a conquered country. Only roughly six hundred individuals carry on the fight against Nazi occupation. Army of Shadows, in focusing on a group of resistance fighters during the darkest months of the Occupation, is divided into ten episodes. In this post I discuss the first three.

Legrain, the young communist.

Legrain, the young communist.

1. The Prison Camp
A civil engineer named Philippe Gerbier is being transported by a pair of gendarmes to a prison camp, which had originally been built by the French to house German officers. Gerbier is suspected of being involved in resistance activities. The Commandant of the camp eyes him warily, sensing that Gerbier is an intelligent and capable person with important social connections. He assigns him to a cabin in which a pompous retired colonel, a clueless salesman, and a pedantic pharmacist are being held, along with an earnest young communist, barely out of his teens, and a Catholic teacher who lies ailing on his cot. In voiceover, Gerbier praises the canniness of the Commandant for “sandwiching” him between “three imbeciles and two lost children.” The communist, Legrain, is allowed to work on the electrical switchboards, and, sensing that Gerbier is an important figure in the resistance, he approaches Gerbier with a plan for escape by causing a blackout to give him the opportunity to slip past the guards. But the very next scene has the Commandant and his men show up at the door of the cabin to hand Gerbier over to the Gestapo. The film does not reveal how they got the information, but the audience is led to believe that the prison guards tortured it out of Legrain. Gerbier never sees Legrain again, and the audience is left wondering what happened to the young electrician. But the sudden disappearance of lives, without explanation and without apparent cause, becomes a pattern in the film. What is also noteworthy about this episode is the steady gaze with which the Commandant studies Gerbier when he is first brought into the prison camp. The audience is given access to his thoughts as he weighs whether to treat him leniently or harshly. The Commandant is not seen again after he delivers Gerbier to the Nazis. The intelligence and discernment of the collaborator leaves an unnerving impression, as it reveals that the Nazis are enjoying the benefits of his formidable talents and impressive professionalism.

Waiting for death, or worse.

Waiting for death, or worse.

2. In the Hands of the Gestapo
Gerbier is taken the hotel where the Gestapo have their headquarters. He is brought into a room and seated next to another Frenchman who has been arrested. The two exchange long silent looks, with what looks like anger appearing on the face of the other prisoner. An interminable period, several hours, passes during which the only sounds are that of the switchboard operator routing calls in German. Working late into the night, the operator yawns and stretches his arms. During a brief moment when the guard watching over them speaks to a superior, Gerbier tells his companion that time is running out for them and that he will create a distraction so as to enable the latter to run out of the hotel. In a scene that shocks the viewer with its sudden violence, Gerbier asks the guard for a cigarette, but when the guard makes a gesture to him to sit back down, Gerbier takes out the guard’s knife and stabs him in the throat. The camera lingers over the image of the two in a fatal embrace, as Gerbier seems to be propping up the dying guard’s body when in fact he is thrusting the knife more deeply into his neck. The other prisoner races out of the hotel past two guards with machine guns, who fire in his direction. Gerbier runs in the direction opposite of the guards and, after sprinting down several blocks, enters a barber shop, panting and out of breath. He requests a shave from the surprised barber, and while the razor passes over his face, Gerbier notices with dismay and fear a poster in support of the collaborationist Vichy government on the barber’s wall. The film heightens the tension by cutting between close-ups of Gerbier sitting in the barber’s chair, with his eyes fixed firmly on the barber, and the barber, with a nonchalant expression, lathering and then shaving his face multiple times. Whereas the barber initially greeted Gerbier with a surprised and suspicious look, he now appears wholly absorbed in his task. As the mood turns from suspense to relief, Gerbier rises to pay the man and retrieve his coat. The barber insists on giving him his change, and returns with his own overcoat, which is of a different color from that of Gerbier. The resistance fighter gladly accepts the man’s coat, and walks back out into the darkness.

"We have to strangle him."

“We have to strangle him.”

3. The Execution of the Traitor
The scene following Gerbier’s dramatic escape from Gestapo headquarters begins on a confusing note. In the only instance where the voiceover narration does not belong to any of the characters in the film, the audience is told a certain “Paul Dounat,” who also goes by the name of “Vincent Henry,” has arrived at a courthouse in Marseilles to meet with a fellow member of the resistance organization to which he belongs. He is met by his contact, a middle-aged man named Félix Cachat, who escorts him to a car, in which Philippe Gerbier sits waiting. Dounat, as it turns out, was the one who betrayed Gerbier and several others to the authorities. Gerbier tells Dounat that it is futile for him to protest his innocence as they take him to a rented house in a remote neighborhood. Gerbier, Félix, and Dounat are met by a resistance fighter who goes by the name of the Mask. The Mask prevents Gerbier from executing Dounat with a pistol by revealing that the house next door has become occupied by a family, who are certain to hear the noise of the gunshot. Rather than postpone the execution, Gerbier presses ahead with it, reminding the other two of all the other work they must do for the Resistance. But Félix and the Mask are shocked when Gerbier decides to have Dounat strangled.

This scene is one of the most powerful in the film, and perhaps unique in world cinema, for it reveals that almost every other film about killing is pornographic. None of the three men want to go through with the killing. When the Mask, reeling from the shock, tells Gerbier that he has never done anything like this before, Gerbier forcefully tells him that such an action is new for him and Félix as well. Félix, who had maintained a Stoic facade about the “dirty job” they have to do, throws a look of shock at Gerbier when the latter gives the order to kill Dounat with their bare hands. Grabbing the sobbing Dounat by the limbs, Gerbier looks directly into the eyes of the young traitor, while the Mask faces downward in anguish. A sickened look passes over the face of Félix while he uses a cloth to strangle Dounat. Tears stream from the young man’s face as he dies, as it becomes clear that he betrayed his comrades not out of malice but out of fear and weakness. What Dounat had been too weak to do was to commit suicide when he was captured by the Gestapo.