Marie-Octobre

Resistance fighter Marie-Octobre (it's her former code name) gathers her mates after the war.There's a traitor among them and they've got to discover him and do away with him.The audience is induced to suspect one by one all the "guests",à la Agatha Christie.The film forgets the historical background very quick to focus on an efficient but rather artificial suspense.

The good cast (Danielle Darrieux,Serge reggiani,Bernard Blier,Paul Meurisse) makes up for the conventional side of this story.It' s a watchable work,but it's not representative of Julien Duvivier's greatness:he was in the last part of his brilliant career and time had begun to take its toll.But his touch is still here though.

At first sight, a policier. Or adaptation of Agatha Christie novel. Or only a war story. Or a story of revenge.

But each of this definitions works in some measure. It is a film admirable crafted and this represents one of its basic virtues. The second good point, obvious , the cast. Not the last, the atmosphere, constructed crumb by crumb.

After fifteen years , a sort of trial . The members of resistance group looking for the author of murder of one of them. Danielle Darrieux is just superb, proposing a great character in wich past love remains part of desire, cold one, of justice.

A film captivating the viewer as testimony of this special hunt of truth, in which the accusations, doubts, excuses are mixed in a large effort to cure a stain of past.

This movie is more like a theater-play: very much talking and hardly any action. All talking is done in French, and deals with a very haunting issue: in 1959 a former French resistance group reunites to search themselves for a traitor who killed one of them back in 1944. In this way a real Agatha Christie-like plot develops, all set in the long dark shadows of World War II and its horrors. Leading female star Danielle Darrieux gives a glittering performance, both in her talking and in her presence. The male cast around her consists of some of the greatest French actors at the time. 'Marie-Octobre' is not an easy movie to watch: you have to concentrate on it. If you do so, you'll be swept along onto its climax and surprising end.

Undoubtedly another great Duvivier's picture, this time touching in a neuralgic matter, due on occupied France many cooperating with the Germans invaders, this is the main point, after a fifteen years a hearsay came to Marie-Octobre's ears and his slavish admirer Léon Blanchet (Robert Dalban), thus they decided gathered all member of the French resistance at those time to find out the real traitor and thief, the meeting shall be in the same place where everything happened, that ends up with the Gestapo breaking out the meeting, also killing his leader, further the traitor also stolen three millions francs, they are eleven, a pressman, a priest, a tax collector, industrialist, a butcher, an attorney, a locksmith, a doctor, among others and the still young Lino Ventura as Carlo Bernardi as night club's owner, they faces each other, many things come up, suspicions on the air, in searching for the truth they reconstituting the final scene when his leader was killed, robust and valuable effort, displaying the human nature even on the worst wartime backdrop, Duvivier walks in a stony ground!!!

Resume:

First watch: 2020 / How many: 1 / Source: DVD / Rating: 8.5

Duvivier seems capable like no other of really laying out the most unpalatable truths. The movie shows a group of resistance fighters assemble for a reunion 15 years after the war is over. It's genre is whodunnit (who betrayed our leader in this case), but it's a lot more impressive than that suggests. What the structure does do is allow for a lot of suspense, the movie really kept me fascinated.

Right from the start nothing appears particularly heroic about the group, their meet up is as awkward as an SS reunion. After the war they all went their separate ways pretty much (with exceptions, such as Marie-Octobre and Francois, the rich industrialist who funds her fashion house). Why is this important. It feels like they maybe did dirty things together, took justice into their own hands, skulked around in the shadows. Maybe their cause justifies everything, I guess that would be the traditional view anyway. I'm in my mid thirties and I never met anyone who believed in a cause, people choose activities and roles that suit them, that is all, killing as an activity is much more fundamental than the cause it underlies.

There is something extremely unhealthy about the male "comrades" and their attitude to Marie-Octobre. At the beginning Francois introduces her as "notre fleur de fusil", or the rose in our guns. Her role generally seems to be "unattainable sex object". She refers to the gathering at one point as a "huis clos", a term for a closed proceedings, but surely meant to evoke Sartre's play ("No Exit" in English), about the pain of being aware of yourself an an object to others' perception, set in Hell. I refer to them as comrades in inverted commas because they are all quite ready to suspect one another at the drop of a hat. In a particularly galling act of cowardice they all write down the name of the person they prejudge as being guilty and anonymously drop their ballots into an urn.

No new truths are discovered in the course of the meeting, these are all people who know one another, all they have to do is work out, in a rather anally retentive fashion how each individual's proclivities could have lead to the death of their leader.

I personally found the elegant and aristocratic Francois almost intolerably overbearing and sanctimonious. His view of order must be imposed on everyone else. I never felt more in favour of anarchy than when watching this movie.