Rating: 
Summary: RENOIR , GABIN , FRESNAY , VON STROHEIM AND FRIENDS
Review: Jean Renoir's GRAND ILLUSION has often been considered as the best movie ever made. It's not my personal opinion but it is evident that this WW1 movie is a masterpiece. If you haven't had yet the opportunity to admire Jean Gabin and Pierre Fresnay, it would be a fruitful idea to buy this DVD. The copy is the best copy one can find nowadays. Cleaned and restored by Criterion, it is simply perfect. And the sound ! No more shuffle nor bruises, a miracle. If, like me, you thought to know GRAND ILLUSION by heart, it will be like discovering a brand new movie.Jean Renoir's masterpiece is a study about patriotism, about the frontiers, geographical or ethical, between nations and men. Why does Erich Von Stroheim, the German officer commander of the prisoner camp, develop a friendship with Pierre Fresnay, the French noble officer ? Will it be stronger than military duty ? Charles Spaak's screenplay is first-class, the actors "over the top" and Criterion's extra features an homage to the possibilities of the DVD standard. A DVD for your library. Of course.
Rating: 
Summary: 2 out of 10
Review: Man, this movie didn't really move me at all. Although I heard this was highly praised, I found this film to be a chore, took me 23 days to get over with this film. It was slow, tedious, and dragging. All I can sum up about the film is bunch of sissies who sing and fool around while making an escape. I found many of the scenes being too over-dramatized. None of them moved me at all. I was bothered by the lack of some subtitles, little grainy and sometimes fuzzy picture, and the darkness in the movie. The ending was not any powerful at all. I found the point of the film by the time the French officer gets shot at. But 30 to 45 minutes continuation after it, man...that was too long. I did not really like this film, and if I had to choose anti-war films over this, they would be ON THE BRIDGE OVER RIVER KWAI or APOCALYPSE NOW. For entertainment value, THE GREAT ESCAPE replaces this slow and often unentertaining film.
Rating:
Summary: Greatest Film Ever Made
Review: Most humanistic film I've ever seen and, out of over 5,000, in a class by itself.
Rating:
Summary: A stunning re-birth of the great classic
Review: One of the greatest achievement in film history, this Jean Renoir's masterpiece could be seen only in prints and video made from an inferior duplicate neagtive for over 40 years, as the original film elements was thought to be lost during the German occupation (Goebbels and Hitler hated the film, and banned it in Germany at its original release). If you have seen only these versions, you haven't really seen it yet! The new transfer, made from the newly-discovered original camera negative (i.e., the best film element available) is just stunning. For the viewers familliar with the film, there is an added surprise at the begining, for the credit title sequence is different. The crisp trasnfer allow viewers to appreciate the depth of Renoir's masterful direction, for you can see a lot of details that might be lost in inferior prints: for Renoir, it is not just the protagonists that are important, but the whole atmosphere that surrounds them, including the delicious performance from the supporting cast (the Jean Renoir Stock Company, such as Julien Carrette, Gaston Modot and Jean Daste) which makes this film more than just an anti-war film. The DVD also includes the trailer from the 1958 re-release, featuring Jean Renoir himself passionately telling what this movie is all about: "it is a story of people like you and me, caught in the tragedy called war". Grand Illusion is a story of survival, of people who want to live in their best way possible, within their humain limitation. Limitation, for the people can act only within their social class behaviour and their social role. But Renoir never condems or criticize them; the film embraces even the flaws in their perosnalities. It's a great film, and a must-have DVD.
Rating:
Summary: One of The Greatest and Most Beautiful Films of All Time!
Review: One of the greatest films of all time from one of the greatest filmmakers. Jean Renoir, son of Auguste Renoir, the famous painter is one of the most evocative filmmakers that ever lived. Along with this masterpiece he made 'The Rules of The Game' with some of the same actors which is even a better film. The film, contrary to first glimpse, is not just a prison escape movie or a buddy-drama. It is a film that tackles a lot of issues; class differences (rich and poor), nationalities (French and German), military ranks (officers and soldiers), and even ideas and religions. All this makes for a poignant multi-layered anti-war film. Erich Von Stroheim stars as a proud German general who was severely bruised and burned in a plane crash and is now the head of a POW camp. Von Stroheim was also a genius director, he made the silent classic 'Greed'. Not only was he a legendary director but he could also act delivering the most memorable performance in the whole cast and was also fluid in three languages. Stroheim plays Capt. Von Rauffenstein, an idealistic and very patriotic man who is extremely proud of his family name and still believes in 'superiority' just because of a last name or because of a military rank. Pierre Fresnay is the countercurrent of Stroheim's character an admirable French officer who is conscious of all the changes that are happening in the turmoil of WW I. Jean Gabin's character on the other hand is less refined and more realistic, he portrays the surviving 'middle class'. Dita Parlo, who also starred in Jean Vigo's 'L'Atalante' just five years earlier plays Else, the German farm woman who warmly looks after two escaped POW's. Her character is meant to represent the suffering of the women and children that stay behind while their husbands or brothers could meat their deaths at any moment. There is a very touching scene where she explains that her husband and almost all her brothers have dies in the war, this is one of the profoundly sobering anti-war messages that you will ever find in film. I think Renoir's 'Grand Illusion' in the film is the superiority of the upper classes in the face of war. While the truth is that nobody is exempt when it comes to war. One of the most moving scenes ever filmed is the death of Pierre Fresnay by the hands of Von Stroheim. What also makes this film unique is that all the characters are richly textured and detailed, a quality that has almost been lost in 'modern' cinema. Easily among the best French films of all time and a must-see for foreign film fans. From a scale of 1-10 I give this film a 10!
Rating:
Summary: Amazing
Review: Orson Welles, who was not known for his modesty, said that if a cabinet containing every film ever made caught fire and he only had time to run in and rescue one film, it would be the Grand Illusion (not Citizen Kane, etc). Most people watching this film today might wonder why it warrants such high praise. I say this because many of the themes in this film have been dealt with memorably in other films (the first time I saw the Grand Illusion, for example, I couldn't help thinking that I preferred Stalag 17). As a result, the film appears to be less original than it actually was. Modern audiences are also not used to the movie's themes being dealt with so subtly (no bodies are graphically blown up to show the horrors of war, no lower class characters are unjustly executed, etc). Thus it will not attract as much widespread popular praise as such overblown garbage as Saving Private Ryan (which is a complete and utter failure as an anti-war movie after its opening 10 minute gorefest ends). In contrast, this film has a subtle depth which elevates its effectiveness and will keep the viewer thinking long after it ends. There are many illusions dealt with in the film. The interaction between the upper class prisoners and the prison camp's commandant (excellently performed by Erich Von Stronheim) illustrates the illusion of civility that exists (or should I say existed) during war (people pretending to be civilized while trying to wipe each other out). It illustrates the illusion of nationalism (except for the war, the officers are kindred spirits). The illusion of class is also well portrayed with the commandant arbitrarily showing less favour to some prisoners because of their last name and for no other reason. Viewers with knowledge of history will also note the irony in its theme of the decline of nobility and the ascendency of democracy given that this film occurs during a war in which lowly soldiers were ruthlessly sacrificed by their "noble" leaders in greater numbers than in any other war. One thing which makes this film different from most others about war or class is that it portrays the noble officers as worthwhile and positive people, but it treats all of its characters with equal respect. This, of course, further illustrates the illusory nature of class. For a thought-provoking movie, it is also quite entertaining, filled with humour, suspense and great performances. While I would not go as far as Welles in his praise of The Grand Illusion, it is still very highly recommended.
Rating: 
Summary: Deft camera work, but...
Review: Picture this: Erich von Stroheim as "Rauffenstein" sitting at a table in his commandant's uniform, wearing a neck brace and white gloves. "Marechal" (played by Jean Gabin), his French prisoner of war, stands before him. The German commandant, report in hand, reads aloud the fact that Marechal has 5 previous escape attempts. He shakes his head, as he continues readings, one time "disguised as a woman", referring to Marechal's escape exploits. "Amusing, very amusing." To which a smiling Marechal responds, "But less so when a NCO tried to pick me up. That I didn't like!" Commandant: "Indeed?" Marechal, still smiling: "I assure you." This is the tone of this film for those amongst you who only know this is supposed to be a great film, but know little about it. In essence, it's a contrast between social classes, of an aristocratic age giving way to working class reality. Early in the film Marechal and his compatriot Boldieu, having been shot down by Rauffenstein himself, are invited to dine with their captor, thanks to Boldieu's aristocratic status. So this subsequent scene is a reunion of sorts. As the film progresses we see Rauffenstein reach out to Bolieu as a fellow career officer and aristocrat. Boldieu, however, in the end, sacrifices himself for his fellow countrymen; showing that nationalism is stronger than class. The director, laments this, and it is this which is the point of the film. That said, is this a great film? (That's why you're reading this, I presume; to gauge whether this film might interest you or not.) I would posit that the message herein, as indicated above, is the primary reason this film is raved about; Jean Renoir's deft direction notwithstanding. The substance of the film, conversely, is less grand. First of all, this military film is peopled primarily by officers only. Moreover, the POW camp environments depicted herein are rather comfortable looking. The prisoners eat well (thanks, in part, to some food parcels from home), they have books, they appear in clean uniforms, etc. They even receive a huge crate from home full of ladies clothing---dresses, shoes, wigs, corsets, the works!---so that they (for some reason, primarily only British soldiers in this French production!) can put on a cabaret drag show. Presumably, this is supposed to boost morale, but if anything the life these prisoners seem to lead is far too cheerful; full of cheekiness too. To boot, as their escape tunnel nears completion, some even express mixed feelings about leaving their camp! (Incidentially, this is not an "escape" film, however much this review may seem otherwise. They talk about it a bit, and prepare for it little more. But we only see one escape attempt in this film and that consists of two soldiers going over a wall.) That few seem especially keen on escaping is actually logical, in the sense that few of these soldiers are seemingly interested in fighting anyway---director's commentary on the idiocy of war, I assume. Jean Renoir did declare himself a pacifist, after all, around the time he made this film. So there you have it---a great film if you're so inclined as well; otherwise, judging this film on cinematic grounds only, not as substancial as its reputation. Cheers!
Rating:
Summary: A timeless film
Review: The bitter and wonderful dialogues about the decadence and the primary and secondaries effects about the war support the structure of this brilliant movie.
*The miseries of the war brought the richness in my brain*, this sentenece is pronounced by Stroheim to the men in the remarkable sequence at the dinner.
Jean Renoir made his masterpiece around the hope and the enjoy of living, despite the horrors of the war. The message is clear : you must to follow your bliss even in the worst circunstances : no matter how awful be the world that surrounds you. The great men are not prisoners of the fate : they follow his principles and the powerful will struggles the fate and so it becomes a consequence of their acts , the point is that they are just a few .
Andrei Tarkovski wrote once this wisdom statement:
*The art is possible in the world due its no perfection : if the world was perfect the art would have no sense*.
That powerful statement is the meaning force that feeds the behavior of these men . May be they are not conscious about the spirit of the statement of Tarkovsky , but they are doing precisely that.
The great illusion is a big slap in the face about the WW1 : but beware this is not an anti belic flim : it goes beyond this simple aspect : we should expect fifteen years after for Jeux Interdits , another supreme film of Rene Clement , which reflects with greatness the slap about the WW2.
This film is not only an extraordinary work. It's a thousand carats jewel.
So it's timeless movie.
Rating:
Summary: Finally, a masterpiece given the treatment it deserves...
Review: The Criterion Collection has been batting 1.000 lately by bringing out splendid DVD versions of such classic films as "The Wages of Fear","The Passion of Joan of Arc" and "The Third Man". Now, with "Grand Illusion", they may have even surpassed themselves. The transfer is from an original camera negative thought to be lost for decades and it can't be rivalled for image clarity or sound quality (given that this is a 62-year old film). The DVD version of "Grand Illusion" looks as close as we can hope to its original state. The film itself is a poignant examination of the conflict between class and national identity during World War I. Three French officers - an aristocrat (Pierre Fresnay), a rich Jewish banker (Marcel Dalio), and a working-class capitian (Jean Gabin) - are captured and imprisoned by a refined, arrogant German officer (von Stroheim). The French and German aristocrats share a deeper cultural and affetionate bond than they do with the men of their respective countries. When the French captives plan an escape, the aristocratic officer risks himself for a nationalism he doesn't believe in. The scenes between Fresnay and von Stroheim, arguably some of the tenderest scenes in the movie, display a ritual of noblesse oblige that seems absurd today (the people in the cinema where I saw it laughed at these men's tender missives to each other). And, indeed, these aristocratic manners are patently absurd in the theater of modern warfare. Pauline Kael has said that this film is "an elegy for a dying class" and that's partially true - it's also an examination of how tenuous the bonds of nationalism can be both within countries (as relations between the working-class Gabin and Dalio later prove) and between them (when a German guard hands Gabin a harmonica). And yet, the acting and writing are grounded so much character and detail that you can be very moved by this film without noticing these underlying theme (the audience that laughed at the aforementioned scenes, gave the film a standing ovation at the end). "Grand Illusion" has been enormously influental - you can see traces of it in "Casablanca" (with Dalio, interestingly enough) and "Paths of Glory", for example. Renoir's direction is wonderfully fluid - even his minor characters have unique features. Along with "Passion" and "The Third Man", the Criterion version of "Grand Illusion" is one of the finest DVD releases of the year. Let's hope that they now do the same for "The Rules of the Game"
Rating:
Summary: Finally, a masterpiece given the treatment it deserves...
Review: The Criterion Collection has been batting 1.000 lately by bringing out splendid DVD versions of such classic films as "The Wages of Fear","The Passion of Joan of Arc" and "The Third Man". Now, with "Grand Illusion", they may have even surpassed themselves. The transfer is from an original camera negative thought to be lost for decades and it can't be rivalled for image clarity or sound quality (given that this is a 62-year old film). The DVD version of "Grand Illusion" looks as close as we can hope to its original state. The film itself is a poignant examination of the conflict between class and national identity during World War I. Three French officers - an aristocrat (Pierre Fresnay), a rich Jewish banker (Marcel Dalio), and a working-class capitian (Jean Gabin) - are captured and imprisoned by a refined, arrogant German officer (von Stroheim). The French and German aristocrats share a deeper cultural and affetionate bond than they do with the men of their respective countries. When the French captives plan an escape, the aristocratic officer risks himself for a nationalism he doesn't believe in. The scenes between Fresnay and von Stroheim, arguably some of the tenderest scenes in the movie, display a ritual of noblesse oblige that seems absurd today (the people in the cinema where I saw it laughed at these men's tender missives to each other). And, indeed, these aristocratic manners are patently absurd in the theater of modern warfare. Pauline Kael has said that this film is "an elegy for a dying class" and that's partially true - it's also an examination of how tenuous the bonds of nationalism can be both within countries (as relations between the working-class Gabin and Dalio later prove) and between them (when a German guard hands Gabin a harmonica). And yet, the acting and writing are grounded so much character and detail that you can be very moved by this film without noticing these underlying theme (the audience that laughed at the aforementioned scenes, gave the film a standing ovation at the end). "Grand Illusion" has been enormously influental - you can see traces of it in "Casablanca" (with Dalio, interestingly enough) and "Paths of Glory", for example. Renoir's direction is wonderfully fluid - even his minor characters have unique features. Along with "Passion" and "The Third Man", the Criterion version of "Grand Illusion" is one of the finest DVD releases of the year. Let's hope that they now do the same for "The Rules of the Game"
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