Jean Renoir produced a fairly long string of masterpieces. This film, "The Elusive Corporal", is one of his least well known. Released at the tail-end of his career it is typically compared to "La Grande Illusion", a seminal film released by Renoir a quarter century earlier. Indeed, "Corporal" seems to play off the reputation of "Illusion", both films containing a number of parallels and reversals. Where "Illusion" was set during the First World War, for example, "Corporal" nosedives into the Second. Meanwhile, both films contain French soldiers attempting to break out of German prison camps, both contain botched escape attempts, both contain heroes who repeatedly shrug off their failures, and both end with two men scrambling toward national borders, Switzerland in "Illusion", Paris in "Corporal". And of course "Corporal" was Renoir's first film in years to be shot in black-and-white, a strange choice, but one which recalls the director's work in the 1930s.
Despite all these similarities, "Corporal" is much more lighthearted in tone. Jean Pierre Cassel stars as our hero, a French enlistee who has surrendered to the Nazis. He spends the film ensconced in a detention camp, from which he stages a series of hilarious escapes. There are shades of "Cool Hand Luke", shades of Bresson's "A Man Escaped", but Renoir's tone is gentler, more lighthearted (ie "Stalag 17"). In his hands, Cassel isn't struggling to escape, but is already always free. The Germans can't contain his self-determination, cannot break his will. Cassel's character is himself always several steps ahead of the competition, always subtly judging, perceiving, and withholding information. He remains elusive to even his fellow prisoners, refusing to give of himself over to any and everybody.
The film was based on a Jacque Perret novel, but Charles Spaak, who co-wrote "Illusion", did some uncredited writing on "Corporal's" screenplay as well. Unsurprisingly, "Corporal" features impressive black-and-white photography. Renoir's previous films were in colour, had a bouncy, impressionistic quality, a skill possibly inherited from his father, the Great Renoir, an Impressionist painter. "Corporal", though, echoes Renoir's earlier work, with stark faces, grim shadows, and a droll existentialism. Cassel would star in Melville's "Army of Shadows" several years later.
8/10 – The POW or prison movie is a genre which produces an inordinate amount of great films. Renoir's work here can't touch the best in the genre. Worth one viewing.
Despite all these similarities, "Corporal" is much more lighthearted in tone. Jean Pierre Cassel stars as our hero, a French enlistee who has surrendered to the Nazis. He spends the film ensconced in a detention camp, from which he stages a series of hilarious escapes. There are shades of "Cool Hand Luke", shades of Bresson's "A Man Escaped", but Renoir's tone is gentler, more lighthearted (ie "Stalag 17"). In his hands, Cassel isn't struggling to escape, but is already always free. The Germans can't contain his self-determination, cannot break his will. Cassel's character is himself always several steps ahead of the competition, always subtly judging, perceiving, and withholding information. He remains elusive to even his fellow prisoners, refusing to give of himself over to any and everybody.
The film was based on a Jacque Perret novel, but Charles Spaak, who co-wrote "Illusion", did some uncredited writing on "Corporal's" screenplay as well. Unsurprisingly, "Corporal" features impressive black-and-white photography. Renoir's previous films were in colour, had a bouncy, impressionistic quality, a skill possibly inherited from his father, the Great Renoir, an Impressionist painter. "Corporal", though, echoes Renoir's earlier work, with stark faces, grim shadows, and a droll existentialism. Cassel would star in Melville's "Army of Shadows" several years later.
8/10 – The POW or prison movie is a genre which produces an inordinate amount of great films. Renoir's work here can't touch the best in the genre. Worth one viewing.