Hello, all! I’ve been sticking with the standards thus far, so since we’re moving on from “Napoleonic Tactics/Civil War” films, it seems apropos to change things up a bit. Now that we’re in “The Great War,” I’m obliged to recommend a great film – I hope to have hit the bullseye with today’s recommendation: CAPITAINE CONAN. Feel free to check out the trailer below:
It’s a real pity that many Americans who head to the cinemas [or just plain queue up something on one streaming service or another] “don’t like to read their movies,” because there really are some fantastic flicks [and miniseries (I’m looking at you, “Unsere Muetter, Unsere Vaeter”)] being made in places outside of the realm of all things Hollyweird. CAPITAINE CONAN is one of them. Take the premise of THE DIRTY DOZEN, the grit of SAVING PRIVATE RYAN [albeit pared down some], a tiny bit of DEAD PRESIDENTS, the cinematic sensibilities of Francois Truffaut and other such “New Wave” directors out of France, throw them all in a blender, and you’ve got this flick.
Set in locations [and times] that have rarely been featured in film [the film first follows the titular captain and his gang of merry marauders in and around Macedonia, and later shows the group taking on elements of the Red Army in the Russian Civil War]. History buffs should be [not Butch] jonesing to see this one based on that fact alone, methinks. In the movies REDS and DR. ZHIVAGO [props to @VolfanSC for predicting that reference yesterday], perhaps, that aspect of World War One has been depicted, but I’m at a loss to think of any others.
At any rate, the film focuses on the actions of a bunch of “slit throat first, ask questions later” commandos under the command of their captain, and it’s relatively unflinching. Again, the depiction of war violence here doesn’t reach such discomfiting levels as those shown in other films [MEN BEHIND THE SUN having some disgusting scenes, but how could it be otherwise when your film is about the infamous Unit 731 in WWII?], but that’s not the point. While the film uses The Great War as the vehicle for telling its story, the story is more about the difficulty in balancing morality against immorality [or even amorality], achieved primarily in a very solid performance by Philippe Torreton as Capt. Conan. Throughout the film, his “id” is balanced by a fellow soldier’s [Norbert, portrayed by Samuel Le Bihan] “superego.”
Since I mentioned the influence of the “New Wave” of directors on this film, it’s worth pointing out that this movie “feels” French. There has been a spate of films released in Russia lately that also have a particularly stylized feel that likewise “feel” Russian [see: STALINGRAD (not the German version, obviously), T-34, BATTLE FOR SEVASTOPOL, and the somewhat weird WHITE TIGER to know what I mean]. In the case of this film, the director’s near slavish attention to some of the conventions of “New Wave” cinema, particularly long takes and the use of lighting. There are a fair few long takes, and they’re seemingly all shot using natural light. As a result, the traditional nighttime scene to which Stateside audiences have perhaps become accustomed is replaced by one where the viewer can barely see anything. It lends a certain authenticity to the scenes, and there’s nothing at all wrong with that when you’re addressing such a serious topic as war.
If you’re feeling a little experimental [though the film isn’t, per se], give this little gem out of France a try. It turns out that they’re good at something other than surrendering, after all – enjoy!
Other films recommended:
[Day 1 - KINGDOM OF HEAVEN (Director's Cut); Day 2 - GLADIATOR; Day 3 - TROY; Day 4 - SPARTACUS; Day 5 - BRAVEHEART; Day 6 - MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD; Day 7 - GLORY; Day 8 - GODS AND GENERALS; Day 9 - GONE WITH THE WIND]
It’s a real pity that many Americans who head to the cinemas [or just plain queue up something on one streaming service or another] “don’t like to read their movies,” because there really are some fantastic flicks [and miniseries (I’m looking at you, “Unsere Muetter, Unsere Vaeter”)] being made in places outside of the realm of all things Hollyweird. CAPITAINE CONAN is one of them. Take the premise of THE DIRTY DOZEN, the grit of SAVING PRIVATE RYAN [albeit pared down some], a tiny bit of DEAD PRESIDENTS, the cinematic sensibilities of Francois Truffaut and other such “New Wave” directors out of France, throw them all in a blender, and you’ve got this flick.
Set in locations [and times] that have rarely been featured in film [the film first follows the titular captain and his gang of merry marauders in and around Macedonia, and later shows the group taking on elements of the Red Army in the Russian Civil War]. History buffs should be [not Butch] jonesing to see this one based on that fact alone, methinks. In the movies REDS and DR. ZHIVAGO [props to @VolfanSC for predicting that reference yesterday], perhaps, that aspect of World War One has been depicted, but I’m at a loss to think of any others.
At any rate, the film focuses on the actions of a bunch of “slit throat first, ask questions later” commandos under the command of their captain, and it’s relatively unflinching. Again, the depiction of war violence here doesn’t reach such discomfiting levels as those shown in other films [MEN BEHIND THE SUN having some disgusting scenes, but how could it be otherwise when your film is about the infamous Unit 731 in WWII?], but that’s not the point. While the film uses The Great War as the vehicle for telling its story, the story is more about the difficulty in balancing morality against immorality [or even amorality], achieved primarily in a very solid performance by Philippe Torreton as Capt. Conan. Throughout the film, his “id” is balanced by a fellow soldier’s [Norbert, portrayed by Samuel Le Bihan] “superego.”
Since I mentioned the influence of the “New Wave” of directors on this film, it’s worth pointing out that this movie “feels” French. There has been a spate of films released in Russia lately that also have a particularly stylized feel that likewise “feel” Russian [see: STALINGRAD (not the German version, obviously), T-34, BATTLE FOR SEVASTOPOL, and the somewhat weird WHITE TIGER to know what I mean]. In the case of this film, the director’s near slavish attention to some of the conventions of “New Wave” cinema, particularly long takes and the use of lighting. There are a fair few long takes, and they’re seemingly all shot using natural light. As a result, the traditional nighttime scene to which Stateside audiences have perhaps become accustomed is replaced by one where the viewer can barely see anything. It lends a certain authenticity to the scenes, and there’s nothing at all wrong with that when you’re addressing such a serious topic as war.
If you’re feeling a little experimental [though the film isn’t, per se], give this little gem out of France a try. It turns out that they’re good at something other than surrendering, after all – enjoy!
Other films recommended:
[Day 1 - KINGDOM OF HEAVEN (Director's Cut); Day 2 - GLADIATOR; Day 3 - TROY; Day 4 - SPARTACUS; Day 5 - BRAVEHEART; Day 6 - MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD; Day 7 - GLORY; Day 8 - GODS AND GENERALS; Day 9 - GONE WITH THE WIND]
