With his bald head, bushy mustache and below average stature, Gérard Jugnot has always been type-casted as the typical French guy, definitely not the leading type by Alain Delon or Lino Ventura's standards.
Yet, for an audience avid of characters to mock and/or to identify with, Jugnot's always been one of the most instantly recognizable and popular of all the French actors, thanks or because of the physical qualities I described. To give you a hint, when he shaved his legendary mustache for the first time, it was like a national event in France. In fact, though they played in different registers, Jugnot was the eternal 'average Jean' like Woody Allen the 'neurotic nerd'. And with the same artistic talent, Jugnot was capable to turn what could be seen as a handicap into a true career's asset, when he started directing himself in the early 80's.
Jugnot had his breakthrough film as an actor/director by playing "Pinot, simple cop", in the underrated "Wonderful Times", he embraced the economical crisis of the early 90's as Berthier, a guy who lost everything and started living in the streets. And in 2002, he played another memorable anti-heroic role as Edmond Batignole, a Parisian butcher who starts hiding Jewish children and helps them to get to the Swiss border during the Occupation. Although the film can be seen as the typical 'ordinary hero' tale and lesson of courage and integrity, it's not "Life is Beautiful" material and looks more like the kind of TV drama you'd watch on a Thursday night. Strangely enough, the film doesn't have the stylish ambition its story would have called for, a pity considering the potential of the titular character.
Batignole's qualities are efficiently highlighted by contrast: he's not as opportunistic as his wife or as zealous as his soon-to-be son-in-law Pierre Jean, a wannabe playwright and notorious collaborator. The film opens in 1942, Batignole, as the brave worker who gets up early finds out that his rabbits were stolen. Convinced that only a child could have entered the warehouse, he questions Dr. Bernstein about his son, keeping him upstairs while Pierre-Jean, smelling the attempt to escape, calls the police, Batignole has some rude words against Dr. Bernstein, not because he's a Jew, but because of his snobbishness. The family ends up being arrested and realizing his participation–Pierre-Jean calls it a deliberate diversion- Batignole understands that his views about class struggles are outdated by a much bigger issue.
Yet he acted like a collaborator and thanks to his help, Pierre-Jean pulled some strings to convince Gestapo officers to take Batignole as a caterer. He reluctantly accepts this promotion, he who fought the Germans during the Great War and it's obvious that there is a big part of remorse regarding the Bernstein family. One day though, he finds Simon Bernstein who managed to escape from the Police and an opportunity to redeem himself. He hides Simon and two other girls in his cave, and in the process, kills Pierre-Jean off-screen, when he was about to call the Police. The film's first act is an occasion to remind of the disgrace of the collaboration and humanity of those who jeopardized her lives by protecting Jews.
Jean-Paul Rouve is a scene-stealer as the treacherous Pierre-Jean and received a César award for Most Promising Newcomer, the film's only win and nomination. I personally believe that not showing Pierre-Jean's death was a mistake that hurt the film's impact regarding the significance of the character as a first-rate villain and the pivotal role his killing played in Batignole's life. I wonder how the death of Pierre-Jean would have looked on-screen, maybe it wouldn't have worked, but it would have liberated the kind of energy the film mostly lacked. Instead, Jugnot chose the 'easy way', and wasted acting talents for scenes that only consisted on words, while the actions speak much better.
The most significant moment is the climactic confrontation with the Vichy Police, the level of tension is perfect when Batignole is asked about Simon, but then, realizing he's not believed, Batignole pretends to be a Jew and starts an inspirational speech accusing the French collaboration. More than a genuine expression of disgust, it sounds like the kind of crowd-pleasing statements intended to raise the eternal 'what would have we done?' question about France's responsibility in the deportation of Jews. Some viewers believe that France resisted and movies like this continue to convey a negative image. Some others believe that such films are essentials, and then some consider that France should approach other historical themes like the unwounded war with Algeria or slavery.
I'm sure Jugnot didn't just make another 'Holocaust' film but his climactic speech would have made a more impacting pay-off if the film had featured more intense moments before. Instead, it flirts with many war dramas' archetypes: the good-hearted bishop, the lonely woman who gives her house and body, with such a sort of detachment that I wonder if Jugnot really trusted his material. Jules Sitruk also gives a nice performance as Simon Bernstein, but he never seemed to grasp the gravity of his condition. The film lacked the kind of powerful shocks where Batignole would have slapped him for his own good, would Simon scream or insult him? Maybe, but that's because the kid acted more like HIS generation and his performance needed a 'better' directing. And the two girls didn't have much screen time to grab our interest.
The film is a good tribute to anonymous heroes who helped France to keep its honor and only Gérard Jugnot could have pulled such a performance. But it feels like he took the premise of granted and shot the film in a rush, filling it with inspirational speeches yet preventing it for the kind of energy and tension, we expect from a WWII drama.
Yet, for an audience avid of characters to mock and/or to identify with, Jugnot's always been one of the most instantly recognizable and popular of all the French actors, thanks or because of the physical qualities I described. To give you a hint, when he shaved his legendary mustache for the first time, it was like a national event in France. In fact, though they played in different registers, Jugnot was the eternal 'average Jean' like Woody Allen the 'neurotic nerd'. And with the same artistic talent, Jugnot was capable to turn what could be seen as a handicap into a true career's asset, when he started directing himself in the early 80's.
Jugnot had his breakthrough film as an actor/director by playing "Pinot, simple cop", in the underrated "Wonderful Times", he embraced the economical crisis of the early 90's as Berthier, a guy who lost everything and started living in the streets. And in 2002, he played another memorable anti-heroic role as Edmond Batignole, a Parisian butcher who starts hiding Jewish children and helps them to get to the Swiss border during the Occupation. Although the film can be seen as the typical 'ordinary hero' tale and lesson of courage and integrity, it's not "Life is Beautiful" material and looks more like the kind of TV drama you'd watch on a Thursday night. Strangely enough, the film doesn't have the stylish ambition its story would have called for, a pity considering the potential of the titular character.
Batignole's qualities are efficiently highlighted by contrast: he's not as opportunistic as his wife or as zealous as his soon-to-be son-in-law Pierre Jean, a wannabe playwright and notorious collaborator. The film opens in 1942, Batignole, as the brave worker who gets up early finds out that his rabbits were stolen. Convinced that only a child could have entered the warehouse, he questions Dr. Bernstein about his son, keeping him upstairs while Pierre-Jean, smelling the attempt to escape, calls the police, Batignole has some rude words against Dr. Bernstein, not because he's a Jew, but because of his snobbishness. The family ends up being arrested and realizing his participation–Pierre-Jean calls it a deliberate diversion- Batignole understands that his views about class struggles are outdated by a much bigger issue.
Yet he acted like a collaborator and thanks to his help, Pierre-Jean pulled some strings to convince Gestapo officers to take Batignole as a caterer. He reluctantly accepts this promotion, he who fought the Germans during the Great War and it's obvious that there is a big part of remorse regarding the Bernstein family. One day though, he finds Simon Bernstein who managed to escape from the Police and an opportunity to redeem himself. He hides Simon and two other girls in his cave, and in the process, kills Pierre-Jean off-screen, when he was about to call the Police. The film's first act is an occasion to remind of the disgrace of the collaboration and humanity of those who jeopardized her lives by protecting Jews.
Jean-Paul Rouve is a scene-stealer as the treacherous Pierre-Jean and received a César award for Most Promising Newcomer, the film's only win and nomination. I personally believe that not showing Pierre-Jean's death was a mistake that hurt the film's impact regarding the significance of the character as a first-rate villain and the pivotal role his killing played in Batignole's life. I wonder how the death of Pierre-Jean would have looked on-screen, maybe it wouldn't have worked, but it would have liberated the kind of energy the film mostly lacked. Instead, Jugnot chose the 'easy way', and wasted acting talents for scenes that only consisted on words, while the actions speak much better.
The most significant moment is the climactic confrontation with the Vichy Police, the level of tension is perfect when Batignole is asked about Simon, but then, realizing he's not believed, Batignole pretends to be a Jew and starts an inspirational speech accusing the French collaboration. More than a genuine expression of disgust, it sounds like the kind of crowd-pleasing statements intended to raise the eternal 'what would have we done?' question about France's responsibility in the deportation of Jews. Some viewers believe that France resisted and movies like this continue to convey a negative image. Some others believe that such films are essentials, and then some consider that France should approach other historical themes like the unwounded war with Algeria or slavery.
I'm sure Jugnot didn't just make another 'Holocaust' film but his climactic speech would have made a more impacting pay-off if the film had featured more intense moments before. Instead, it flirts with many war dramas' archetypes: the good-hearted bishop, the lonely woman who gives her house and body, with such a sort of detachment that I wonder if Jugnot really trusted his material. Jules Sitruk also gives a nice performance as Simon Bernstein, but he never seemed to grasp the gravity of his condition. The film lacked the kind of powerful shocks where Batignole would have slapped him for his own good, would Simon scream or insult him? Maybe, but that's because the kid acted more like HIS generation and his performance needed a 'better' directing. And the two girls didn't have much screen time to grab our interest.
The film is a good tribute to anonymous heroes who helped France to keep its honor and only Gérard Jugnot could have pulled such a performance. But it feels like he took the premise of granted and shot the film in a rush, filling it with inspirational speeches yet preventing it for the kind of energy and tension, we expect from a WWII drama.