Through "Uranus", director Claude Berri serves us on a silver platter French cinema crème de la crème: veterans Jean-Pierre Marielle, Philippe Noiret and Michel Galabru followed by Michel Blanc, Gerard Depardieu and Fabrice Luchini and a casting masterstroke with former TV comedian Daniel Prevost as Rochard the schmuck that started it all.
There are no heroes in that story, but just average men shining through their actions, reaction and at times, inaction... and I was surprised at the end to be able to feel the angst, torment, frustration, disillusion of each one of them as if they were protagonists, in fact as if I lived by their side during the Occupation whose aftermath is the backdrop of "Uranus". This is the uncompromising tale of men governed by their instincts, principles, fears, pettiness, greed, so many human elements that make the dichotomy of fear vs. Courage too simplistic to analyze what truly happened under Vichy government.
One shouldn't underestimate the complexity of the issue and its existential bearing on the national conscience. Basically, there were choices for French people who were not Jews: they could cooperate or even fight with the enemy, some women only had the misfortune to fall in love with German soldiers -which was deemed as horizontal collaboration. Or they could follow the call of General De Gaulle and join the 'maquis' to fight and sabotage the German's equipments and execute collaborators. And neither resistants or collaborators, the silent majority just 'let it go' like the Parisians who acclaimed Petain in April 1944 and then De Gaulle in August after the Liberation.
"Uranus" was written by Marcel Ayme who had shady occupations during that bleak era of the same name. And like in "The Sorrow and the Pity", it raises one important catalysis of that National shift: Communism. In Marcel Ophuls' documentary, a former militian admitted he fought with the Nazis because he couldn't side with Bolcheviks. The anti-Communist sentiment was so prevalent that it gave the party an aura of nobility at the end, it was at the right side of the fight and in that small town where the film takes place: the rising party is represented by three men: Rochard, a petty railroad worker, Jourdan (Luchini), a virulent teacher and faux-intellectual and Gaigneux (Blanc), a more modest but principled father.
These men couldn't have been more different, Rochard is an insecure man who spread rumors against local bartender Leopold (Depardieu) after one humiliation too many. He tells everyone that notorious collaborator Maxime Loin (Gérard Desarthe) is kept in his house. By the time he made amends it was too late, the party couldn't consent to ignore the incident or fire Rochard, Leopold had to be guilty. Jourdan is seen as a little mama's boy who reasons in terms of group and class while he never lived himself like a true working-man, as his colleague Watrin (Noiret) says "you're not gifted for life". Jourdan is the brain without the muscle, the thinker without the guts, diametrically opposed to Gaigneux disapproves constantly, neighbor of the Archambauds, the bourgeois family who happens to hide Loin.
The seemingly straitlaced father Archambaud (Marielle) is portrayed in a rather weird establishing moment, instead of disapproving his daughter (Florence Darel) for frolicking around with the son Monglat, he warns her against getting pregnant, but being the mistress or wife of a rich kid amount to the same. This shows the concussion left by the war, when the notions of morality were turned upside down. When Archambaud finds Loin, tracked like a dog, he can't resign himself to leave him for a certain death. He shelters him, makes him sleep with his son (not his daughter) and asks neighbor Watrin if he can use his bed as well. Loin was a ruthless collaborator but oddly enough, Archambaud's act seems if not heroic but brave.
In fact these little villages are totally remote from the usual narrative of "barbarity rid by WW2", that Communists are influent makes no difference than the Occupation and in a sort of twist of irony, the former collaborators became the 'resistants'. Everything is a lie in this world, even Leopold who claims to have been a resistant is reminded by the Police that his business worked with the Germans and the Jew he so-called kept was his nephew. In his mind "Leppold has nothing to blame himself for, he made money but still less than Monglat Se. (Galabru). As Leopold, Depardieu gives a boisterous and exuberant performance as if he was still channelling Cyrano De Bergerac, he plays a men who needs wine and words to fulfill his thirst and finds himself a new talent, to compose verses and alexandrines.
In this labyrinthine plot where stories overlap with a remarkable fluidness, Leopold and Watrin are the two men trying to escape from that dim reality, Leopold with self-destruction and creation (maybe echoing Ayme's mindset) while Wautrin tries to see good in everything and doesn't exhaust in mind in analyzing what goes beyond his power. He explains though that every night at 11;15, he thinks of that last page he was reading in an astronomy book, about the dark and cold Uranus, and keeps repeating the words he read when the bombs killed her wife who was in the factor's arms. Basically, "Uranus" is the mental state of a town that still live in total moral rumble, where men became so emasculated their women would gave themselves to the first stranger.
It's not ultimately surprising that Mrs. Archambaud (Daniele Lebrun) has an affair with Loin, who's in a position to judge anyone in such a context... it's a sort of matter-of-factly cynicism that remains truthful about human nature and Berri doesn't lecture these men, but the human nature in general, and the way it can express itself during exceptional circumstances... showing that there's a moment where bravery and cowardice are so banal they almost become interchangeable.
