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The events of the novel, Marguerite Yourcenar's Coup de Grâce (1939), are narrated from the first-person point of view of the soldier Erich von Lhomond. In the film, some voice-over comments from Erich come at the beginning and end and in a few other scenes. However, the film's narrative structure and visuals make central the character of Sophie von Reval, played by Margarethe von Trotta, who co-wrote the screenplay. P.J.R. Nair comments, "Schlöndorff has, in fact, reconfigured the point of view within the narrative situation: Sophie turns into Erich's co-protagonist . . . . instead of an officer and his memories, a woman moves to the forefront along with the conflicts of her emotions, her epoch, and her environment. In the adaptation process, Schlöndorff has set up an unusual narrative structure. On one hand, he is taking a book that features a male point of view and evokes the genre of the war film --- a genre usually characterized by a male point of view. On the other hand, the shift away from a first-person male narrator represents here a subverting of the war film's usual masculine perspective.

Citas
Tante Praskovia: The father of what's his name - Volkmar - had an affair with Rasputin. He must have been a queer.

Conexiones
Featured in Nur zum Spaß, nur zum Spiel (1977)

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6/10

Coup de grâce refers, of course, a finality. Often it means a bullet to the head or something similar to make certain the subject is dead. The original title is Der Fangschuß.

In this German and French language film, covering the period just after World War One, and filmed in a dull black and white that evokes the drab, colorless and perhaps hopeless world for many in the war's aftermath. Set in ravaged Latvia where the Czar had previously allowed a number of aristocratic wealthy Germans to continue to own estates with sumptuous homes. Among these, Countess Sophie de Reval has allowed herself to become attached to the promise of Communism. Despite the German Empire's collapse, German troops nevertheless have been stationed in the region, ostensibly to protect the German citizens from Bolshevism. Since this was formerly a part of Mother Russia, many locals want to see the return of Czarist Russia of the past while some hope for a republic and others only wanting an end to all the strife and horror of war. They only desire a peaceful home for themselves and their children. One of the German officers who has returned to his former homeland, happens to be a gentleman the countess has known since childhood. Once they meet, her former passion re-ignites and when he rebuffs her advances, she begins to throw herself at him. Finally, unable to achieve fulfillment with the officer, the countess releases her sexual desires with others, making this a film destined more for adults, despite the fact that there are really no outright graphic sexual scenes. As mentioned earlier, the drab hopelessness of the period is only accentuated by the low-key black and white film production. This is not an action-packed suspense film, but rather a study in human values and emotions during times of trial. One comment is that the subtitles in English are not well- incorporated into the film and many will find them difficult to follow, especially considering that the film does have a number of abrupt changes of scene. For all that, this is a film many will not quickly forget.