We have late discussed for you the movie "Napoleon" by Ridley Scott and the Polish comedy series "1670", which productions by any viewers have been misread as historical, in fact not being.
So I am very pleased that I can yet review a movie I call historical with a clear conscience. We have here a description of the real events related to the anti-revolutionary uprising erected by the royalists in the region of France, which has resisted the revolution, or Wandea, the longest.
The events themselves are interesting, that they slip distant from certain patterns in the sense of revolution as such. Well, the French Revolution is presented to us as a conquest of the people oppressed by the feudal strategy against kings and aristocracy, in the name of freedom, equality and brotherhood—in the name of the republic. However, the events in Wandea do not deal with specified perception of the case, due to the fact that it was a peasant uprising, commanded by the aristocracy, against the republic, and in defence of the king and Catholic religion. As he rightly noted late Jan Engelgard This is as a vivid denial of Marxist thesis that there are classes having and classes being oppressed, and the axis of conflict must always run between them.
The movie was entirely financed by private resources of various past lovers, ideally oriented towards the conservative side together around EUR 4 million). The French production company is liable for the full task Puy du Fou Movies directed by Nicolas de Villiers. any readers curious in French political past surely associate his father – the founder of the Movement for France – Philippe de Villiers. The head of the studio demented, although originally the movie was made for political reasons. In 1 interview, he said: “We are on artistic ground, not political ground – but everything comes in its own time. It is clear that, as Picasso said, the work of art is simply a message in itself. He wears something that exceeds them” (intelligence for the portal tysol. pl)
So 1 political subject undoubtedly accompanies the film. Especially since Philippe de Villiers himself asked the president just before the French premiere Emmanuel Macron to admit events in Wandea as Humanity. Additional spice of the case adds the fact that the movie ‘Vaincre ou mouir’ (in literal translation ‘Win or die’), due to the fact that that's what the first title sounds like, he's had quite a few success in France, considering he's not a super-production. In the first week of the show, it exceeded 100,000 spectators, which importantly increased the number of cinemas in which it was displayed and allowed to be placed 3rd in the French box office.
This way of financing not only did it not prevent the creators from making a good historical film, but possibly and confirms the way that we – lovers of specified cinema – should follow. any time ago, I wrote in our articles about the Polish movie “The Half Century of poesy Later”, which was made in precisely the same way and besides proved to be very successful.
So let's go to the image itself, the creators of which are Paul Mignot as manager and Vincent Mottezas director, screenwriter and co-producer. Both masters, as well as the label, as they say, had a intent – to give France 1 of its heroes – Charette Francois-Athanase de Charette de la Contrie – French royalist, vandian insurgent general, commander of the Catholic and Royal Army of the Lower Poitou and the Retz Countries, and formerly an officer of the Royal Navy. This is the first movie devoted to this man almost entirely. The squad came to this goal with a clear commitment and passion, but contrary to what critics say the movie is not Manichean and is not to be Charette's hagiography.
The “King of Wandea” (as the insurgents called it) is known when, despite a reasonably young age, he is retired at a time erstwhile the revolution is raging in cities all over France, and dignitaries search “volunteers” to the Republican army, which they choose to draw pebbles. During this course, the boy of 1 of the heroes dies, and the peasants decide to take matters and fork into their own hands. All of this is going alternatively dynamically, which I consider to be the advantage of the movie – it has just over 1.5 hours and there is no unnecessary extension of certain threads.
The peasants show up at Charette's property to persuade him to lead them and note – here comes the first surprise and proof that the movie is not to be the hagiography of the main character. At first, he appears to us as a realist, not to say a coward who does not want to participate in this war, considering it hopeless and a loser, which clearly explains his sister. He simply says that it is impossible to fight with the power of revolution by going with forks to cannons, and he himself has no experience in land combat as a naval officer.
This aspect of the movie captivated me most – Charette and another heroes are not conclusive. As people placed in utmost circumstances, they do not behave crystallizedly and are vexed by confusion, doubts, and the cognition that war is fratricidal. This is what makes “Wandea. triumph or death” is truly a movie about people who have not willingly fallen into the heat of the revolution and seeing their position respond in a human way.
In 1793, in Wandea, there are armed speeches against fresh orders. They are led by Charette, who, after taking his oath to God and people, engages in the substance with all his power. In the film, he is besides partially a narrator. Unfortunately, at times it becomes annoying, due to the fact that it is clear that the creators had to work together in this way to avoid shooting certain scenes containing crucial events. I believe, of course, that this was a budget that could not compare to super-productions like Napoleon. The narration of the main character is 1 of the tricks, the another is simply a small more successful for me – symbolic visions on the border between the sky and the dream Charette has. This is an interesting and visually well-executed effect that shows the interior dilemmas of the commander of the Vandians.
The movie is full of symbolism – not only religious, which of course dominates. The function of Charette is played by Hugo Becker and this is your excellent creation I buy from start to finish! Unlike Joaquin’s Phoenix, the function of Napoleon in Ridley Scott – we have an actor who understands what he is playing and becomes Charette! The age (37 years old), aparity, costumes and this helps, but most of all, the viewer knows that the actor he sees understood his character and role. That's it! That's it!
The creation of Hugo Becker could be considered even highly good if it were not for the script, which I consider by far the weakest component of the film, and that is simply a real pity. The protagonists' issues sound as if they were written by artificial intelligence after she was asked the phrase "patetic script of the Mel Gibson-style historical film". In the first period, insurgents had any success in fighting, and this is surrounded by a multitude of "pathetic obviousities" spoken by heroes. My favourite was the 1 about the surprise and hiding fight. Charette says to her people, “We will be everywhere and nowhere!” Vincent Mottez (scenario) considered this text to be highly successful, due to the fact that at the end of the movie he put it in the mouth of Gen. Turreau: "Damn Charette must die! But how do we get them? They are everywhere and nowhere!’
Additionally, a number of truisms, heroic slogans and repetitions (e.g. already sitting on Charette's death row reminds everyone respective times that he is simply a royal officer). It is clear that Mottez is not an experienced screenwriter, especially after specified issues that inform them of what is already clear from the context, or has been said earlier. The script besides has good moments. 1 of these are observations (as a narrator) of the main character, who makes an overview after the first clash in an open field with Republican troops. He states that the view is frightening, and in itself it creates a unique fear, due to the fact that he was formerly a naval officer, and "the earth does not consume the dead like the sea." Unfortunately, there are fewer specified tastes.
Batalistic scenes are not spectacular and this is most likely the key component that caused disappointment in many viewers. Unfortunately, there are budget deficits here – battles played by narrow staff, quite a few smoke, close-up to circumstantial characters and respective another treatments. All of this is done wisely and in itself does not offend during the viewing, but there remains the impression of continuous under-situation, and this is not a "good deficiency". With a mostly large impression from costumes, the compatibility of weapons, good camera work and set plan deficiency specified a "dot over and" in the form of just 1 spectacular battle. This would bring the movie to a completely different level and let you to compete with large Hollywood productions.
Violence is very good. War and this in short is never something pleasant to the eye. Modern productions have accustomed us to very naturalistic and literal scenes of force in which blood and guts pour buckets. Here everything has a more symbolic dimension – violence, of course, is, acts on the imagination, takes over, but does not disgust.
In an order given by the Committee on Public Salvation (Omen Nomen) to command intervention forces General Louis Marie Turreau The word “extermination” is utilized and we have this image in the film. Vandea was virtually drowned in blood – the guillotine worked constantly, but was not adequate to kill everyone. Many sentences were executed with bayonets, and women with children were massively drowned in Loar. The celebrated “hell columns” were besides shown, i.e. soldiers setting fire to all buildings along with the population. It's all presented with a taste and highly impressive.
In Paul Mignot's painting, there is besides a thread that could be regarded as feminist, or participation in women's fights, or even aristocrats. Well, this has its reasons based on history, and has been shown neatly. In addition to the sister of the main character, we have 2 beautiful women who look hard towards Charette, but he seems indifferent to their charms. They are aristocrats Marie Adelaide de la Rochefoucauld played by Dorcas Coppin and Ireland Marie AngeliqueHe's inducting himself into Tadrina Hocking And this female accompanies the hero almost to the end.
Political themes were very interesting and the insurgents besides became part of the cynical gameplay. The plot, according to the facts, was divided into 2 stages. The breakthrough is in the movie negotiation and signing a peace in La Jaunaye on 17 February 1795. The Treaty besides contained an informal condition (not in writing) concerning the devotion to the royalist young king. Unfortunately, this was not kept, the heir to the throne was killed, and as early as June of the same year, there was a resumption of the fighting that resulted in the defeat of Charette's melting forces and its capture (a very good scene in the forest).
Unfortunately, the movie shows very clearly that for those on the emigration of the royalists centered around number Artois, the Wandea insurgents were only a tool in political negotiations, which without hesitation was devoted. The promises of the counter-revolutionary army from England proved to be a frost. In the symbolic scene on Charette beach, he receives a saber on which the "I never give up" is engraved.
What yet convinced me to movie and made the cinema leave very happy is the music. Composer Nathan Stornetta He has already collaborated with the French description and besides has experience in writing music for costume films. Here they were placed for completely classical orchestrations and choirs combined with folk music. All of this neatly included in the breathable tunes won on violins and pipes, is again in the pompous orchestral themes accompanying moments of uplifting or batalistic scenes. Music written with large imagination and taste. erstwhile I compose this review for you, I perceive to fragments of the soundtrack found on the net and it gives me large pleasure.
Undoubtedly 1 of the most crucial in the movie is the spiritual theme, on which there is simply a strong emphasis from the beginning to the end. Everything, including the rich symbolism and the subject of “the heart of Christ” adopted as a sign of resistance, revolves around Catholic faith. Charette does not actually go anywhere without his priest, confessor and friend, or Abbot Renaud, played perfectly by Jaques Milazzo. He is shown as a true, steadfast priest who accompanies the insurgents both in moments of triumph and joy, as well as in disasters and final farewells. He besides introduces the subject of Catholic ethics manifested as conscience and mercy on enemies, even overcome. All of this is very coherent due to the fact that the creators showed attachment to the religion of both the aristocrats and the fighting peasants. Most importantly, in these threads do not feel artificial and they do not impose, and naturally arise from the plot. I was somewhat afraid of it, due to the fact that in this delicate substance it is easy to fall into unnecessary breath.
I went to the movie in mid-January. It was a peculiar screening organized by Grudziądz Semper Fidelis Association, i.e. an association of local patriots with a strong conservative prowess for the alternatively present opposition. Although I do not agree with representatives of this environment in my political assessments, I am very glad that thanks to their efforts I had the chance to watch a movie in the Grudziądz cinema. It was all the more pleasant experience that the hall was almost entirely filled. I sat in the 3rd row and the empty seats were just in front, the full behind me was filled. I haven't been on a show with that kind of attendance in a long time, which makes it all the more breathtaking that the movie is neither mainstream nor light.
Unfortunately, the Polish premiere had more than 1 year's hold towards France, where the movie was released in cinemas on 8 December 2022! In the world, then, he saw the light of day at an unfortunate time, and in our midst, dramatic. The painting was created for a long time, and the creators themselves surely had no intention of encouraging war. They wanted to commemorate the heroism and the victim of the fratricidal conflict that took place in connection with the opposition to the French Revolution. The intention was besides to show that the revolution was not without fault, and it is presented to us.
However, I regret to agree with my friend Adam Laughter that in Poland AD 2024 this movie may be misunderstood into two. First, as heating up the war atmosphere. Especially since at the beginning of the year we have a return to a strong rhetoric that tames us with the thought that the war on Russia is inevitable. Secondly, what makes me profoundly sad, and to prove what I did not gotta wait for more than a fewer minutes after the screening, Paul Mignot's painting is translated symbolically into the ongoing "Polish-Polish War".
When I left the cinema hall, I was involuntaryly listening to the conversations of fellow viewers, and what happened to me filled me with deep depression. I was followed by a man and a woman. I'm paraphrasing what I heard:
– See, that's what it is-- triumph or death.
- Yeah, either triumph or Tusk. It's either us—God or Satan.
With all my elaborate and malicious sense of humor, I'd like to think it was a joke, but I'm afraid I've been dealing with an authentic, unlying reflection that comes precisely from this view of reality. The Polish psychiatrist has come to realize that fighting camps of people begin to think of themselves in this way – triumph or death!
I'll admit it's a grim reflection from another good film, which has hit a very bad time for itself. Nevertheless, I encourage you to go to cinemas or see production in another legal way. If I were to measure the full thing, I'd give a strong six here, but due to Nathan Stornetty's large music, I'm giving 7/10.
Bartosz Iwicki
photo. cieneuropa.org
Discussion of the movie on tv channel Think Poland in the program small culture
Poland, No. 5-6 (28.01-4.02.2024)
