At the time of its release, "Fort Saganne" was one of the most expensive productions in the history of French cinema. It certainly was in need of that money, in order to have the accurate costumes,, the settings and the lavish scenes. But this is just the surface of what is not only a pleasure for the eyes, but also an outstanding film.
Charles Saganne (Gérard Depardieu) is a low-class, poor soldier who enlists to fight in Algeria, with the hope of pursuing a glorious military career that would diminish the significance of his social background. Things aren't as easy as he had imagined them; he falls in love with the daughter of a wealthy family, Madeleine (Sophie Marceau), who can't marry him due to their class difference, and his attempt to impress his superior (Philippe Noiret) ends up as a charade. Still, he understands Saganne's eagerness and potential and sends him to fight the Arabs in the Algerian desert. There, he will shine, showing that he has the nature of a real leader, and this glory will have various consequences for his life, ranging from the desirable, to the tragic.
Alain Corneau offered with "Fort Saganne" a big-budget film à la française. Everything is made to resemble a real period piece, from the houses, to the uniforms. The movie could be seen as one of the period films released in the 80's that had the aim of re-examining the past, and resurrect the popularity of French cinema after a period of relative stagnancy. Claude Berri's "Jean de Florette" (1986) was also part of this effort. While the former film examines the consequences of human greed, "Fort Saganne" aims more for a heroic story, that partly makes an attempt at assessing France's colonial past.
The way it does that is surprisingly nuanced and objective, considering its origin and setting. Whilst the hero serves in Algeria and fights the Arabs, who are thus presented as the villains, none of his soldiers seems to fights for the glory of France. In one scene, one of his friends tells him that all that they're told about France's mission to civilize the natives is a lie. Saganne himself does respect France, but his principal aim is personal gain, and he is presented as a person who appreciates the natives and doesn't regard them as inferior. There is even a French commander, who is negatively presented due to his regarding of the civilians, whom Saganne saves - or, rather, "liberates" - as enemies.
Truth be said, the film does commit the mistake of offering a naïve image of the colonized people, who are not of importance in the story. For, this is a film that I told through the perspective of the title hero, a French colonial troop. The natives are either the innocent victims, or the villains, jeopardising France's domination over the region. Still, I consider it commendable for its treatment of their culture with respect, and its avoiding to enforce colonialism. The viewer doesn't support France, it supports Saganne. The whole thing is a personal matter.
Despite its three-hour long duration, the film is extremely enjoyable to watch, owing to the cast's acting abilities. Depardieu, then a new face in French finest, was excellent as Saganne, creating with his performance a character the viewer can toot for. We want him to succeed,because we feel the injustice of him not getting the honour he deserves, only due to being poor. No one is worthless to him, since he was once regarded as such.
As for the other actors, their roles were complementary to the story, and the film wouldn't go on without them. Noiret contrasts perfectly with the more energetic Depardieu, as the stern authority figure in the army. The hero's two love interests, Sophie Marceau and Catherine Deneuve, gave satisfactory performances, especially the latter, playing an intellectual, provocative journalist that seduces Saganne through her wit. Sophie Marceau as Madeleine was not so impressive, maybe due to the fact of her playing the classic French wife of the early 20th century, that is, obedient and quite reserved. Her personality is, I think, suited to more emotional
characters. She would reunite with her male co-star a year later in Maurice Pialat's "Police", an experience not exactly pleasant to her.
The music,composed by Philippe Sarde, is as magnificent as the film itself, with piano pieces that impose themselves and provide the essential dramatic atmosphere of such a lush, grandiose feature.
"Fort Saganne" is a great both for the cinephile and the history lover, with a stellar cast, and an interesting historical context.
Deep in the African desert, a fortress stands. Upon seeing it, one might assume it is a relic from the past, but a sign on it quickly discerns the truth. It reads "Fort Saganne".
Like the film itself, it stands there, mostly forgotten, but existing for the ones wanting to see it. I don't know if it deserves a visit, but the film is indeed worth of a viewing.
