User Reviews

Before his life was cut short prematurely, Director Jacques Becker created his very personal film, "Le Trou" ("The Hole"). Using mostly then nonprofessional actors, M. Becker elicited extremely naturalistic and powerful performances in a reportedly true-life prison-escape drama set in France.

It was especially interesting to see Marc Michel in his film debut. Made four years before Michel scored a hit as Roland in "Les Parapluies de Cherbourg," Michel here subtely creates a fascinating character. His work is seemingly effortless, yet always intriguing. He stands at the center of a group of convicts planning a daring escape--a group which has difficulty in fully trusting his loyalty.

The routine of prison life as well as the actual escape is done with such detail that the viewer feels part of the action. The black-and-white photography enhances the realism of the presentation, done without a musical background.

Generally a "forgotten film," "Le Trou" is a carefully constructed prison drama, most convincingly executed. It is a credit to both a hard working cast and director.

I watched this masterpiece first time before 10 years and I was stunned. Now, I watched it before few days again and I am really surprised how this remarkable movie functions and become better and better. It is really ingenious portrait of human interaction and cooperation, great "prison-escape" drama that bring us unique way of telling story (in long shots) looking so realistic and powerful.

One of the best movies I've ever seen!

10/10

Probably, to really get "Le Trou", this splendid, intense movie, you have to be conscious that the great Jacques Becker was dying during the making of the film. A quiet stoicism permeates this work of art. The story is supposed to be very sad, but it isn't. The guys on the screen are too tough, by no means apt to mourn their dire destiny or, metaphorically, to ask for the viewer's sympathy.

We have the true story of the hole dug by a bunch of in-mates to escape from a jail in Paris. The screenplay is taken from a novel of the distinguished writer and film-maker Jose' Giovanni, himself formerly a convict. Becker chooses to tell the story in the simplest, neatest possible way. No music at all, an essential, dry, sharp yet powerful dialog. The in-mates do their job, to try to escape. The director avoids the annoying cliché, typical of the American jail-movies, of showing the wardens as sadistic torturers. They are tough and strict, they don't like but they feel no hate for the prisoners. The wardens just do their job, that's all. In fact, there are no really despicable characters in the film. At his last appointment with the art of cinema, Becker seems to accept and forgive all human beings.

A brilliant idea is to show how the guys turn common objects and waste iron into the tools needed for the escape (a key, a lamp, a pick, a sand-glass). The little periscope made with a tooth-brush gives raise to a shocking scene, few seconds of great cinema. We follow the in-mates' apparently endless, exhausting labor of digging and sewing. That should be rather boring for the viewer, but it isn't. How comes there's not a single moment of bore in the film? That's the privilege of Art.

The work of the camera and the black and white photography are sensational, and convey the intense emotions of the characters. The psychological study is made in such an understated way that you may overlook it at a first view. But, after seeing the movie a second time, and knowing the development of the story, you fully appreciate how the psychology of the characters is treated, with accuracy and depth. The actors make an excellent job. This is stunning, thinking that "Le Trou" was the first movie for Philippe Leroy and Michel Constantin, later prominent actors of French cinema. And Jean Keraudy wasn't a professional actor, he was one of the in-mates that actually dug the hole fourteen years earlier! (at least, this is stated by himself at the beginning of the movie, and is testified in several books on French cinema)

Are there deep messages in the film? Two wardens bring a fly to feed a spider. There is the spider, a patent symbol of death, ghastly in its immobility. Two prisoners are peeping and wondering: what the hell are the wardens doing? Got no idea. And who cares, after all? Maybe that is Becker's dry, ironic message. Don't be too deep. Fight against bad luck, be stoic and brave. Who cares, after all?

My opinion is that the artist Becker, displaying the same toughness of the guys on the screen, just fought to leave us a major work of art. Our task of viewers is to enjoy and love it. "Le Trou" is an unforgettable film, which honors the art of cinema.

This film is riveting in its attention to the details of a prison escape and to the relations between the men involved. And even if you're not interested in the Marxist vision that inspires Becker in this last film of his, you will still be captivated by the story. In any case, to understand Becker's vision, I will necessarily have to give away the story so beware (and my analysis also makes the film sound much more schematic and polemical than it will appear to you on viewing it):

***SPOILER***

At the beginning of the film one of actors (clearly a car mechanic) approaches the camera and tells us that we are about to see a true story, his story. We are led to believe that it is the story of an escape from prison, and indeed we are taken to Paris' largest prison where a group of 4 cellmates, already plotting their escape, finds that they are unexpectedly joined by a new cellmate: a well-dressed (all prisoners wear their street clothes), somewhat effete, young man who nominally sells cars at (presumably) his father-in-law's dealership--in any case, it's clear that he doesn't really have to work or at least work hard for a living. On the other hand, the other four are clearly working-class guys who've drawn a bad card in life. After debating among themselves whether to let the pretty boy in on their plot, they decide to do so after they learn that he's in for attempted murder and stands to have a strong reason to want to break out.

Becker shows the extraordinary ingenuity of the working-class prisoners in contriving tools, in developing a postal system between cells, and in setting up a way of telling time where there are no clocks or church bells. The implication is: we, the working class, have the minds, the manual dexterity, and the willingness to work and to build our own civilization (minus the bourgeoisie). Meanwhile, the bourgeois type is astonished at how the working-class types are able to organize and think for themselves ('I've never met men like you before')- -and, above all, he is moved by their willingness to share their victuals and their plans for freedom with him. And it is just this solidarity and mutual support which Becker believes represents an alternative way to organize human society--an alternative to the self-centered world of the bourgeois. Note, for example, the character of 'Joe' who opts to not join in the escape because the police would harass his mother to death, but who still does not rat on the others even though it's clear he will have to do additional time and time in solitary after the breakout. Becker has a nice touch as well in the way he portrays the prison guards, also from the working-class: generally friendly towards the 'boys' in prison, with perhaps an authoritarian streak in them but no suggestion of a sadistic, brutish nature. So when 'Roland' says, 'Poor Gaspard,' after the latter has betrayed them (it was clear that he'd been tempted earlier to do so when he saw the taxi from the manhole cover), it is evident that the only real 'brute' is the bourgeois, who, in the end, will always turn on his pals (and his fellow man in general)if it serves his interest and who is bereft of the fellow-feeling which undergirds working-class life. So what about the claim that this is a true story? The actor who plays 'Roland' is a non-professional, but it's hard to imagine that he could be as young as he is if he had actually attempted 3 previous escapes and had to serve another long stretch for the failed attempt portrayed in the film. Instead, it's the 'true story' of the working class: a class dominated by the bourgeoisie but which resists and has the capability to guide itself without the bourgeoisie; a class which embodies the values of solidarity and the dignity of work--values which can become the foundation of an alternative civilization.

Jacques Becker's swan song is a real gem of a film. Le Trou has such an amazing kinetic rhythm to it that one both feels and forgets the claustrophobic environs. Based on a real story turned into a novel by one of the "escapees", the film has excellent casting, wonderful (candel-lit!) cinematography and crisp dialog among its other advantages.

The director was terminally ill during the shoot and was to die after making the final cut. Watching this classic now some four decades since auteur's death, one can only wonder what an artist it would take to demand and achieve such breathtaking perfection in art while combating death at the same time.

Do not let yourself be put off by "yet another prison-movie!" talk. It is too good to be just that. So much so that it could merit comparison with Bresson's "A Man Escaped". A very deserving 10 out of 10.

Immediate background:Jacques Becker was dying when he filmed "le trou,and he made it his legacy;it's the tragedy of man caught on the web of life -an admirable metaphor shows two wardens feeding a spider in the undergrounds with a fly-,and anyway unable to escape from the final death.

The first thing to bear is mind is that,calling "le trou" a "prison movie" would be an insult.Although adapted from a Jose Giovanni's book -Giovanni had been himself in jail for some time and his depictions are as close to reality as can be-,Becker masterfully transcends his subject and gives something definitely new.Some said it was the final link between "la nouvelle vague" and what the highbrows pejoratively -and thoroughly unfairly- call "cinema de qualité" but Becker had predated that overrated new wave by almost ten years :"rendez-vous de juillet" had already almost everything the young Turks would bring later.

First shock is the use of the wide screen,the cinemascope,which Becker had never experimented before;and he achieved the impossible: using this device for a story which takes place ,either in the four walls of a jail,or in the undergrounds and the sewers .The only picture of the outside is seen when the two inmates open a manhole.And the second one is the sound:there's no music at all,except for the final cast and credits -saving the cast and credits for the end was very rare in the contemporary French cinema -But the soundtrack resembles some kind of musique concrete with its relentless thumps, the whispers and the screams inside the cell,the creaking of the doors ,the waters in the sewer;and the final cacophony -which is not unlike the one which Manliewicz used in "suddenly last Summer" the year before- packs a real wallop.

Another Becker's tour de force is his description of the prison life:he avoids all the clichés that mar so many "prison movies" (the overpraised "Whatsisname redemption" is no exception):here, the wardens are,most of the time ,kind and friendly,the relationships with the inmates remain polite ,maybe sometimes too much:particularly those between the young man (Marc Michel) and the head warden are almost paternalistic.

Another Becker's permanent feature comes back to the fore in "le trou" :friendship,solidarity ,which was already present in "rendez-vous de juillet" and "touchez pas au grisbi".Here it's pure manly friendship and it seems that a certain misogyny is infiltrating Becker's world:during the 2 hours + running time of the movie,we only see one young girl (Catherine Spaak) behind a grille,for a very short while.The only positive woman whom we' ll never see is (naturally) one of the five inmates ' s(Michel Constantin) mother("I almost killed her when I was sent to jail so I do not want to take a chance and try to escape")

SPOILER:But even this world where five inmates share everything,where their friendship is "more than I 've ever had "(Marc Michel's character) is collapsing;the first cracks were already here in "rendez-vous de juillet" when some of the young students were giving up on their plans ,to the main hero's (Daniel Gelin)disappointment.But "touchez pas au grisbi" took friendship over everything including money."Le trou" reveals the true nature of man,even if the informer seems completely desperate at the end of the movie.The mammoth task they did ,the hole '(le trou) is nothing but a cul-de -sac and it epitomizes,in a Hustonian way -we're closer to Huston than to Godard ,fortunately,the vanity of everything man can do to escape from his fate,and in the case of Becker ,to escape from death.END OF SPOILER

Had Becker ended his career with his three precedent movies (Ali-Baba,Arsène Lupin ,Montparnasse 19),his former masterpieces (Casque d'or,Goupi Main Rouges ,rendez-vous de juillet),could have been tarnished by association.But "Le trou" ,his final masterpiece stands in little danger of bringing this about.

Jacques Becker's "Le Trou" is one of the greatest of all prison-break films. No film lover should miss it. It is every bit as masterful and tense as other milestones of this subgenre, including John Sturges' "The Great Escape," Robert Bresson's masterpiece "A Man Escaped," and Don Siegel's "Escape from Alcatraz." The meticulous preparation for the escape is a nail-biter, with many adrenaline-inducing close calls. The ringer: Will the newly exonerated prisoner stay with the group and escape or rat on the others? Those seeking pure entertainment or those seeking existentialist philosophical fare will be equally pleased. A memorable movie experience.

This most powerful of escape stories is a wonderful exposition of the most basic human qualities, ingenuity and cooperation, and the innate drive toward freedom that brings these qualities into being.

While the theme of transcendence is certainly present (although not be-labored) as in A MAN ESCAPED, it is interesting that, in direct contrast to Bresson's work, transcendence is here achieved through work WITH others on a task. The inmates form a unique brotherhood through their joint reliance. This allows them to be IN the prison while not OF it and is quietly visible from the early moments of the film. We see this group bond deepened through each risk taken, each chisel blow against a concrete wall, and we become emotionally tied to the characters' quest simply through observing their effort (it is amazing how dramatic hammering away at a concrete wall can be). No verbal exposition is necessary, no creation of characters and their pasts intrudes to distract us from their task, which IS the drama.

Indeed Becker's film is as notable for what is left out as for what is included. There are no prison "types" created, his style is restrained to the point of being transparent, not to the point of calling attention to itself as "bare" or "ascetic" as Bresson's is. We get no exposition of the horrors of prison life; just enough detailing of the regimentation, drabness of environment, and lack of personal space to make us aware of the institution's suffocating presence. There are no sudden surprises or plot shifts. Well, maybe one. The shot in the mirror near the end of the film is so surprising that I literally couldn't take it in for a few seconds, I thought it had to be a dream: that's how involved with the characters I was! Finally, there is no use of music to pump up the suspense. There IS, however, a powerful and unique use of sound. We hear, in an almost hallucinatory fashion, every thump, clang, and wail within the prison walls and, during the digging scenes, Becker apparently uses a dual soundtrack combining naturalistic sound with heightened effects of the digger's grunts, heavy breathing, and THUMPS of metal against rock. Again this serves to effectively involve us with physical/emotional effort of their task. The cacophony the end of the film harshly accents our sense of disturbance and loss.

It is also worth noting that the apparent "innocent" in the film is the only one who does not achieve transcendence. While he may legitimately gain his freedom, he remains locked within the bounds of his own ego ("poor Pierre" says the leader of the break). Another interesting contrast (reply?) to Bresson.

Altogether a powerful statement that humans at work can be intrinsically dramatic subject matter, that the most simple of subjects can be the most visually entrancing (and emotionally resonant) and a grand illustration of the maxim that "God (and/or art) is in the details". 10/10

This film is absolutely exceptional, from all points of view: story, actors, director, cinematography, everything. If you like movies with action in prisons, this is the best of all. And the most realistic (the script is inspired by a true story). Although static, because all the action is taking place in a prison cell, the film has great tension and is watching with the soul to the mouth. Michel Constantin and Philippe Leroy in their best roles. Great, great film!

"Le Trou" begins with a new cell mate being moved to a new cell in the prison. Apparently they were doing some work in his cell and he and his cell mates were all split up and moved to new quarters. However, the guys already occupying the room have a secret--they've got a reasonably complicated escape plan. At first, they are apprehensive to let him in on the deal but soon realize that they are stuck with him and cannot proceed unless he, too, is part of their plan. The rest of the film consists of a meticulous and slow depiction of their tunnel. If you like heist films that show long and detailed plots, then this one is for you.

Is this 'the greatest French film'? Probably not. But I could certainly see why Jean Pierre Melville would adore this movie, as its style is so close to his I might have believed he directed it--had I not known that it was actually directed by Jacques Becker. Like so many Melville films, this one excels in the realism department. And, like Melville, it's about crooks--and the film really focuses on them almost at the exclusion of all else. Now this sort of film does have one inherent problem--if you want to see a film where you can like the characters, then you'll have a hard time with this one. That's because the protagonists are all guys doing time in prison--so they are not exactly angels! As for me, I respected the film more than I liked the film. Simply put, I have seen several other prison films I have enjoyed more. Still, it's well worth seeing---particularly if you like French films, neo-realism (as the actors were real people--including some of the guys involved in the REAL escape about which this film is made) or prison flicks, then you'll most likely enjoy this film.

This is an excellent example of what a prison escape film (and it can be applied to almost any genre) should be like.

The plot is simple- a sympathetic young man is moved around to a new cell within a prison due to repair works. There he meets four men who after getting to know and trust him, introduce him to their plan- escape.

What I like most about this film is that there is no "bs". Instead, everything is very down to earth and always relating to the escape. There are no useless and annoying subplots, there is no dramatization (no music in the entire film), the characters don't get unrealistically emotional and instead everybody works rationally towards a common goal. The details of the escape are shown in full with no details of it being left on the editing room floor. Being able to see every detail of the escape made the film very realistic in my opinion and thereby a pleasure to watch.

This film is about a prison escape, not drama or emotions. If only more films were like this.

It's amazing how many great escape from prison movies there actually are. Perhaps there is just something about its concept that keeps intriguing. the comradely and loyalty among the prisoners is perhaps the biggest reason for this all, as to why these sort of movies always work out as effective and involving ones. But perhaps it is also because of the very same reason that I have already seen so many escape from prison movies that I just didn't loved this movie as much as everyone else seems to.

This obviously remains one great movie to watch, mostly because it's being an effective one with all of its themes. The movie is pretty simply with its setup and it doesn't allow itself to get distracted by any subplots. You could say it's being a very straight-forward movie; it's an escape from prison movie and that's all there is to it.

We get to see how the prisoners slowly plan and prepare for their escape. But the whole planning and execution of it isn't brought as well to the screen as for instance is the case with the other and earlier French genre movies "La grande illusion" and "Un condamné à mort s'est échappé ou Le vent soufflé où il veut". Same goes for the movie its atmosphere and story really. I just thought that the movie could had been a tad bit more interesting to get more involving and therefore also more tense to watch.

Can't really put any blame on the movie its characters. They are quite good ones, with each a good and strong personality, which also provides the movie with its best moments. I especially liked the ending, which isn't necessarily a typical sort of ending for these sort of movies.

It's also a well directed movie, with some good looking sequences in it. It was the last movie from director Jacques Becker, who died suddenly, only weeks after finishing this movie.

So despite that this movie is done in familiar genre, it still has plenty of originality and greatness to offer.

7/10

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My Rating : 5/10

What a downer! What an abysmal downer of a climax this movie has.

The first half is great and then it just disappoints. I see a lot of 10/10 reviews for this however I just do NOT like the ending (I get it okay? I GET what it's trying to show and mean).

Watch at your own risk. What an absolute waste of 2 hours!!! This is probably one of my few aggressive reviews because I had high expectations from this. Damn you Le Trou!

Le Trou played on TV the other night, and thus gives me a chance to evaluate it after 20 years or so. The direction is magnificent: Becker was a genius at refining the elements of the story down to a bare minimum. Space is used well; the close-ups of men banging on concrete with improvised tools in a cramped space are very effective, they look like burrowing animals. Ghislain Cloquet was a master of black-and-white camerawork; he shot Mouchette and Au hasard, Balthazar for Bresson, Nuit et brouillard for Resnais, Le Feu follet for Malle, all great films made greater by Cloquet's work.

The endless dull routine enlivened by subterfuge--stealing materials needed for digging and making puppets to stand in for sleeping prisoners is brilliantly captured. If the prisoners are bored, so are the staff--the warden is desperate for some conversation with Gaspard, or with anybody. Geo's problem is a little hard to understand, I thought he'd want to go through with the plan. Otherwise I rate it very highly indeed.

I first saw this in the mid 90s. Was on my radar for a long time to revisit n finally revisited it recently. I was dying to see this again. This is one of the most realistic, minimalist n detailed prison escape movie. Surprisingly the acting by all the actors who played the inmates are very good considering most of em r non actors. The direction is superb. The movie is totally unpredictable with lots of suspense n tension throughout without any music. The tension in the film is sublime and at times unbearable. Every detail is properly shown. The black n white cinematography is top notch. I started this movie around 2 am n i never felt like yawning or fiddled with my phone. This movie took away my sleep n i felt like writing a review immediately aft finishing it around 4 am. This movie is intense, claustrophobic n captivating. Folks who haven't seen this shud avoid reading bah the plot. Jus knowing that it is a prison movie n inmates r planning to escape shud b suffice. One of the best thing in this movie is the camaraderie between the inmates. Its about loyalty, bond, boldness, cooperation, hard work n friendship. The film lacks most prison film clichés. There are no sadistic prison guards, and all the prisoners seem like regular guys. In one scene i was shocked to see Jean Keraudy's hand. His thumb is amputated, telling us right away that he has lived a tough life. Definitely for fans of A Man Escaped, Brute Force, Shawshank Redemption, The Great Escape, etc.

LE TROU is a prison crime drama which is based on true events from La Santé Prison in France in 1947.

Four prisoners, who serving long sentences, are determined to escape. Before they start to dig a tunnel to escape, a young and seemingly naive prisoner is transferred in their cell. They are skeptical, but they have no choice but to fill him in. A young man is enthusiastic about taking part in the getaway. The tunnel was dug. Their escape is certain. However, the youngest member of their bunch discovers he will be released soon anyway, because the main witness against him has had a change of heart...

A realistic prison drama pulsates with excitement and tension. The human factor is highlighted in details. It is reflected through an anxiety, nervousness and energy at main protagonists. Mr. Becker has offered an accurate and detailed view of prison. He has managed to drag the audience into an escape plan. Due to these facts, the final outcome is too tragic.

Prison-escape incidents are very exciting and unpredictable. There was a lot of dangerous maneuvers and improvisation. The real "hole" in this film is the human factor. The line between doubt and trust is very thin in prison conditions.

The technique of close-ups has complemented atmosphere and visual effects. Characterization is almost perfect.

Marc Michel as Claude Gaspard is the only protagonist who has discovered his family drama. He is an orphan who has inherited a fortune. Claude is actually a selfish character, who has, ironically, caused the final climax. Jean Keraudy as Roland Darbant is a resourceful and precise brain of an operation. Michel Constantin as Geo Cassine is a honest and diligent bully. Philippe Leroy as Manu Borell is a suspicious and calculating leader. Raymond Meunier as Vossellin / Monseigneur is a cheerful and amusing clown.

This is a tense, sincere and detailed prison story.

Le Trou is an amazing movie that is as fresh as when it was released more than 50 years ago. I have seen my share of prison escape movies but none have been able to come close to this in showing the nitty-gritty of the mechanics of escape.

As the movie starts you are aware that you are watching something very different. In start everything seems to play in real-time. And when the digging for escape starts we are aware that these are not just actors who are pretending to dig or just removing the soft soil. They are actually breaking through the floor. Maybe to some it may not sound like much but after watching so many movies, still getting this amazed by something is a high point for me.

Jacques Becker actually employed ex-convicts who tried the escape as technical experts in the movie and it shows. Everything is painstakingly detailed and real. While many things are shown in real-time, the movie is an edge of seat thriller where you always get a sense of foreboding. There are many close brushes.

I loved it from the start to the end. No clichés anywhere.

Prisoners in a French prison plot an elaborate escape by digging a tunnel. Apparently French prisons are nothing like American prisons, with inmates allowed to dress in street clothes and receive parcels containing pate, caviar, and pudding. The tunnel scenes are well constructed and are probably the best thing about this otherwise talky and lethargically paced film that feels much longer than its running time. There are extended scenes showing prisoners hammering through concrete and cutting through steel bars. And the cells are so sound-proof that guards just outside the door don't hear any of the loud hammering. The ending is ambiguous and unsatisfying.