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Film and Community in Britain and France: From La Regle du by Margaret Butler

By Margaret Butler

Family members among France and Britain have consistently been uneasy and ambivalent. yet in cinema the second one global struggle replaced all that for a time. even if the 2 international locations' wartime fortunes differed, post-war either have been busy reintegrating returning servicemen and prisoners of conflict and accommodating the replaced aspirations of ladies. Margaret Butler examines those matters and extra in her comparative examine of the cinemas of england and France in the course of and after the struggle. utilizing the concept that of group, she indicates how cinema handled rules of belonging and alienation, inclusion and exclusion, cohesion and department. She additionally attracts on modern debates and a perceptive studying of key movies, to bare afresh the that means and charm of such French classics as Le Corbeau and Les Enfants du Paradis and striking British productions resembling Waterloo highway and Passport to Pimlico .

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Film and Community in Britain and France: From La Regle du Jeu to Room at the Top

Family members among France and Britain have continuously been uneasy and ambivalent. yet in cinema the second one international conflict replaced all that for a time. even if the 2 international locations' wartime fortunes differed, post-war either have been busy reintegrating returning servicemen and prisoners of struggle and accommodating the replaced aspirations of ladies.

Additional info for Film and Community in Britain and France: From La Regle du Jeu to Room at the Top

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Blake and Hardy fondly recall Christmas dinners, and the speeches in which they had both expressed their deep devotion to the Navy and the Torrin. Alix Kinross (Celia Johnson) delivers a moving speech about the Navy wife’s biggest rival, her husband’s ship. ‘It’s extraordinary,’ she says, ‘that anyone could be so fond – and so proud – of their most implacable enemy – this ship’. Devotion to the ship is paramount. When a terrified young stoker (Richard Attenborough) abandons his torpedo station, his shipmates shun him and he tries unsuccessfully to drown his sorrows.

Florrie’s bravery, however, ultimately resolves the feud between Lanec and Trevannick. 24 During filming, news came of the liberation of France, and Balcon recalled, ‘Somebody produced champagne (pretty scarce then) and we toasted Françoise who was much moved. Then we all sang the Marseillaise. 27 Ealing therefore made a considerable contribution to promoting a union between the two nations, and continued to do so after the war. Meanwhile, as the idea of the ‘people’s war’ became absorbed into popular culture, film producers from various companies engaged with the idea of a common community.

For those films which dealt head-on with current events, the wartime community of British film was not just a geographical entity. Ships, barracks, factories, training camps and aerodromes each functioned as a form of ‘noman’s land’ into which characters were gradually assimilated. 33 More importantly perhaps, it was the first film to pay equal attention to the depiction of officers and men. 34 The opening scene uses documentary footage of a busy shipyard, and a narrator (Leslie Howard) tells us that ‘this is the story of a ship’.

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