Das Boot der Verdammten

I give this film five stars although I would rather have given it one star, because of the other reviews posted here. I cannot say for sure that this is René Clement's weakest film but it is by far not his best and it is the weakest I can remember to have seen. It contains the typical Nazi stereotypes that were maybe true, I don't know, but nevertheless boring. Had the Nazis all have been such idiots they could hardly have lasted six years in a war against practically the whole world. True, they were first supported by the west to scare off the Bolsheviks but later on they were pretty much alone against the whole world. When it came out maybe there were not that many films about Nazi stereotypes and so it must have seemed better thenö but I review the film from the impact it could have to day and in that lite it is at best vaguely interesting but on no account whatsoever comparable with Les yeux interdit, for example. I just went through the list of Clements films and of the ones I've seen, this is indeed his weakest.

This is director René Clément's third full-length film and already we are aware that he is a great 'film technician' with an eye for detail.

It takes place in a German U-471, a wooden replica of which Clément had built at the Victorine studios. His production designer, Paul Bertrand, has done a wonderful job in recreating the interior and the tracking shots through the vessel by Henri Alekan are impressive. Apparently Clément installed a tilting mechanism to reproduce as much as possible the movements of the submarine.

Essentially dealing with the wages of political sin, the characters almost without exception are a thoroughly unsavoury and ignoble bunch with no redeeming features which naturally makes them horribly fascinating. The only decent character is the doctor of Henri Vidal and therefore infinitely less interesting! I have no doubt that Paul Bernard, Jo Dest and Florence Marly enjoyed their roles immensely. Marcel Dalio gets top billing here and plays 'une crapule' with his usual aplomb.

The film is not without its weaknesses. The punch-ups on board are far from convincing and the various deaths of the protagonists are handled in a very cold, clinical manner. An undeniable strength is the dialogue by renowned Henri Jeanson.

Clément's powerful first feature 'La Bataille du Rail' was filmed in a semi-documentary style whilst this one seems to fall between two stools, those of fact and fiction, with varying results.

This director made fifteen films in twenty-five years a few of which are undisputed masterpieces. 'Les Maudits' is alas not one of them but did in fact beat off some pretty stiff competition to win Best Film at Cannes. Devotees of 'Psycho' please note the scene where a murdered man pulls down the curtain rail from the rod!

The history of French cinema, for better or worse, is largely tethered to two boad-sweeping movements; the Poetic Realism movement and the Nouvelle Vogue. Both periods expanded the limitations of film technique while constantly calling into question grammar and form. Populated with names like Godard, Varda, Renoir and Carne, these movement most importantly laid the foundation for auteur theory (the notion that a film is a product of the director like a novella to an author).

Rene Clement is not a member of either of these movements. Considered too young for the poetic realism and too old for the French New Wave, Clement was dismissed by Francois Truffaut as part of the Cinema du papa (Your dad's cinema); a blanket term for French filmmakers who try to mimic the bloated spectacle of Hollywood. Yet anyone who gives Forbidden Games (1952) or Purple Noon (1960) a chance can clearly see a talented filmmaker with a flair for docudrama and a taste for good-old-fashioned storytelling.

Now granted The Damned does not reach the feverish heights of Purple Noon but it nevertheless oozes with the spirit of Americanized suspense while telling a story that's uniquely French. Set during the last months of the Third Reich, a group of Nazis and Nazi sympathizers have planned a daring escape from Europe via U-boat. Things however hit a snag after a close encounter with a Allied ship, forcing the boat to dock and kidnap a French doctor (Vidal). The doctor then bares witness to the escalating fanaticism of the U-boat's crew and occupants as they come to terms with the war ending.

Filled with potboiler intrigue, calculating villains and frenetic action, The Damned brings to mind Hitchcock's slim but suspenseful war-period films like Lifeboat (1944) and Foreign Correspondent (1940). Yet unlike those films which played on the uncertainty of a wartime audience, The Damned has a foreboding sense of ennui. The narration provided by Henri Vidal puts you into the mind of the Doctor and his multiple attempts to escape from the clutches of the U-boat's occupants, which include fanatical SS Officer Forster (Dest), Wehrmacht General Von Hauser (Kronefeld), Italian industrialist Garosi (Giachetti) and his wife (Marly). His main motive is concentrated to that of sheer survival. He knows full well that the moment the wife's injuries are cared for, he's a dead man, so he cleverly uses any excuse to stay on as the resident doctor until better options arrive.

Yet while the doctor may be absolved in his complicity to the Nazi cause, the film shades in the rest of the characters in sometimes quixotic ways. By virtue of being connected to the virginal Ingrid (Campion), Scandinavian physicist Eriksen (Hector) is absolved of his motivation to sell nuclear secrets to the highest bidder. The majority of the Nazi U-boat crew are seen in a positive and simplistic light; a cadre of men just wanting to go home. Meanwhile Florence Marly's Hilde is savaged by the events of the story, not merely because she's a sympathizer but because she is also the mistress to the General. Paul Bernard plays Couturier a French newspaper editor (and the only representative of Vichy France) who is quietly kept under the rug until his final curtain call. One can't help but think that if Couturier's death wasn't so senseless, Clement was trying to build a story around justifying culpability.

Regardless, The Damned is still a brilliantly shot film full of nail-biting suspense and claustrophobic mis en scene. Those who saw Das Boot (1981) or Run Silent, Run Deep (1956) will no doubt see similar visual cues which, I won't go far enough to say were inspired by The Damned but are strongly reminiscent of it. Rene Clement may not be one of the names immediately conjured up when thinking of French filmmakers but with quality films under his belt, he certainly doesn't deserve the Cinema du papa moniker.

A group of Nazi sympathizers of various nationalities board a submarine at Oslo on a secret mission to land in South America where it is planned that Hitler and the Third Reich will rise up once again. On navigating the English Channel, one of the party gets injured – Florence Marly (Mdm Garosi). She needs a doctor and it's the one thing that has been overlooked on this journey. So, they stop over in France and kidnap one – Henri Vidal (Guilbert). They resume their journey with the new arrival who realizes that his life is in danger as he now knows too much – he has to survive by making himself indispensable to the gang.

The whole story is pretty much set aboard the submarine. It's a novel setting and provides the necessary claustrophobic atmosphere as we wonder how and when our doctor hero is going to make his escape. Other characters don't fare too well when deciding to break free from the clutches of evil Jo Dest (Forster). By the way, this Dest character is a cartoon character Nazi who has a blatant homosexual arrangement with his young muscleman as played by Michel Auclair (Willy). Dest's male bitch is even given the name 'Willy' so that you are under no doubt that they like playing with each other's willies.

French war drama by Rene Clement

This film is really a surprise! Rene Clement, who a decade later filmed a Tom Ripley novel by Patricia Highsmith for the first time with Alain Delon in the leading role of "Plein soleil" (1959), presents here a wonderfully nasty war thriller that is incredibly exciting .

In the final days of the Second World War, a submarine sets sail from Oslo carrying a number of extremely disgusting Nazis from Germany and Nazi sympathizers from other countries. All these miserable people want to escape to South America to escape the impending defeat. Deluded as they all are, this mishmash actually forgot to bring a doctor on board. But they need it after the little accident involving a mild-mannered full-blooded fascist (Florence Marly). Without further ado, you go ashore in Rovan, France, and kidnap the local country doctor (Henri Vidal (1919-1959), who, shortly before his untimely death, was with Romy Schneider in "Ein Engel auf Erden" and Brigitte Bardot in "Voulez-vous danser avec moi?" was visible) on the submarine. And we continue towards South America so that the drama can continue.

This short description of the starting point makes it clear what is so unusual and exciting about this film. Most of the scenes take place in the confines of a submarine, creating a setting that is very reminiscent of "Das Boot" (1981) by Wolfgang Petersen and does not need to shy away from this comparison. The film is basically narrated by the kidnapped country doctor, which gives a special and initially unusual perspective. French and German are spoken, which of course fits perfectly with the characters in the story. In addition, the characters are so unpleasant and their actions are so disturbing that the viewer is simply surprised. This film dares to focus on extreme monsters as anti-heroes. Even the country doctor as the only identification figure is not a shining hero, but rather someone who is placed in a hopeless situation and has to struggle to defend himself.

The actors in this film are terrific. The characters they portray form an impressive collection of Nazi abominations: there is the ardent fascist who is linked to both an Italian entrepreneur and a German general, an informant, a scientist, all of whom supposedly believe in final victory. But the most disgusting and impressive are the SS man Forster (Jo Dest) and his "adjutant" Willi Morus (great: Michel Auclair, who later also appeared in "Funny Face" (1957) by Stanley Donen and "Days of the Jackal" (1973). By Fred Zinneman), which are linked by an ambivalent sado-masochistic connection, which is truly remarkable for a film from this period.

This film is a little pearl with breathtaking scenes that should definitely be discovered. Highly recommended!