Child’s Play

June 1940. A long line of French refugees flee Paris for the countryside during the German invasion of France in WW2. Among the evacuees are a young couple with their 5-year-old daughter Pauline and her pet dog Jock. When the couple’s car stalls on the road, angry refugees push it out of the way and down a hill. The family grab whatever they can carry from their stranded vehicle and return to the road as German aircraft start dropping bombs. In the confusion, Jock runs off and Pauline chases after him. Her parents follow in pursuit but the family is forced to take shelter again as aerial machine-gunners target the escaping Parisians. This time the parents and the dog are mortally wounded and Pauline is left abandoned. She wanders into the countryside clutching her dead pet, not really comprehending what has happened to her. All of this occurs in the few ten minutes of Jeux Interdits (English title: Forbidden Games), one of the most powerful war films of all time. Yet, it is unique within its specific genre because it does not focus on the war itself but the effects of the devastation on a young child. Directed by Rene Clement, the film became an international sensation and won a honorary Oscar as Best Foreign Film of 1952.

Paulette (five year old Brigitte Fossey) is left an orphan after her parents are killed in a German aerial raid in FORBIDDEN GAMES (1952).
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Moving Target

French director/screenwriter Edouard Molinaro may not be a household name in America but practically everyone knows his international breakout hit, La Cage aux Folles, from 1978.  It spawned an equally successful sequel, La Cage aux Folles II (1980), but also became the basis for the smash Broadway musical La Cage aux Folles in 1984 and eventually was remade by director Mike Nichols as The Birdcage in 1996 with Robin Williams, Nathan Lane, Gene Hackman and Dianne Wiest. La Cage aux Folles was no fluke success and Molinaro was already renowned in France for his film comedies such as Male Hunt (1964) with Jean-Paul Belmondo, Oscar (1967) featuring Louis de Funes and the black farce A Pain in the…(1973), which was remade by Billy Wilder as Buddy Buddy (1981). None of this would lead you to believe that Molinaro launched his feature film career with several film noir-influenced thrillers and Un temoin dans la ville (English title: Witness in the City, 1959) is a near masterpiece, deserving to stand alongside Louis Malle’s Elevator to the Gallows (1958), Claude Sautet’s Classe Tous Risques (1960) and Jean-Pierre Melville’s Le Doulos (1962).   Continue reading