Retrospective Programming a Hallmark of the Toronto Jewish Film Festival (TJFF 2016) Review By Greg Klymkiw of Jean Renoir's LA GRANDE ILLUSION, featuring famed French-Jewish actor Dalio in the role of a nouveau riche Jewish P.O.W. Film available for more detailed scrutiny on the magnificent O.O.P. Criterion Collection DVD replete with extras.

Posters for La Grande Illusion and images of fellow German P.O.W. camp escapees Jean Gabin and Marcel Dalio.

Heritage Cinema, Retrospective Programming:
Important Hallmarks of the Extremely Vital
Toronto Jewish Film Festival (TJFF)

2016 Edition of TJFF Unravels Gems
Reflecting Jewish Themes, Talent and Culture
Greg Klymkiw reviews Jean Renoir's masterpiece:

Germans will be Germans.
Luckily, the French will always be the French.

La Grande Illusion (1937)
Dir. Jean Renoir
Scr. Renoir & Charles Spaak
Starring: Jean Gabin, Marcel Dalio, Erich Von Stroheim, Pierre Fresnay,
Dita Parlo, Julien Carette, Gaston Modot, Jean Dasté, Georges Péclet

Review By Greg Klymkiw

La Grande Illusion might be the best film about the Great War ever made. Such a proclamation doesn't come lightly since there are a fine handful of WWI pictures vying for this accolade. King Vidor's The Big Parade, Lewis Milestone's All Quiet On The Western Front, Frank Borzage's A Farewell To Arms, Edmund Goulding's The Dawn Patrol, Powell/Pressburger's The Life and Death of Colonel Blimp, Stanley Kubrick's Paths of Glory and Peter Weir's Gallipoli are all first-rate explorations of the bloodiest, meanest war of the 20th Century. All are replete with filmmaking artistry of the highest order and infused with the kind of emotional depth charges guaranteed to explode one's tear ducts into shards of salty droplets of emotion.

But no, Jean Renoir wins hands down from my perspective.

Well ahead of its time Renoir's masterpiece presents a positive antidote to Europe's rampant antisemitism with the character of Rosenthal (played by immortal French-Jewish actor Dalio), a nouveau riche Jewish P.O.W. who shares his family's care packages of food and drink with his fellow prisoners (no matter what their class, station or rank).

French POWs Amuse Themselves Amongst the Hun.

Furthermore, Renoir crafts a fascinating, often funny and richly moving portrait of a class system on its last legs. It's this very approach which, unlike other war films, is what makes it so brilliant and ahead of its time, but in many ways, makes it one of the most stirring anti-war films of cinema history. ("Class" is often touched upon in WWI pictures, but here, it is everything, and as such contributes to the picture's lasting value.)

The screenplay by Renoir and Charles Spaak, tells the story of a group of allied soldiers incarcerated in the German prisoner of war camps of World War I. This is not the typical reflection of concentration camps since WWI occurred during the waning days of aristocratic rule when even Germans exercised a certain degree of compassion and restraint in the treatment of its prisoners.

The film focuses primarily upon Lieutenant Maréchal (the always dashing French leading man Jean Gabin), a simple car mechanic in real life who is in the previously unthinkable position of an officer and a gentleman. In fact, it is Maréchal's basic, down-home pragmatism which allows him to be a leader within the prison system and most importantly, provides the inspiration to never give up the effort to seek escape so prisoners can rejoin their comrades in the fight against the Hun.

Death be not proud? Or is it?

Captain de Boeldieu (Pierre Fresnay) is, amongst the POWs, pure aristocracy, but he too, like the Jewish nouveau riche Rosenthal, knows that in war, his place is with his fellow prisoners. He is, however, allowed to have his cake and eat it too when Captain von Rauffenstein (the great Erich von Stroheim), the ultra-aristocratic commandant on the German side, welcomes him for fine spirits and lively conversation - a discourse which leads to both men equally lamenting, yet accepting the fact that this is the war in which the "ruling" class is on its way out.

Their friendship takes on some of the more moving and heartbreaking elements and events of the film.

Renoir presents both sides of the coin to the POWs' incarceration. The film shares a magnificent staged entertainment amongst the men, stirring escape planning and a rousing rendition of "La Marseillaise" which offers an equal dose of soul-stirring tears to the similar moment years later in Michael Curtiz's Casablanca.

German Prisons Do Not All Provide Fun and Games.

On the flip side, Renoir does not shy away from the brutality of the German captors (outside of von Rauffenstein's decidedly humanitarian approach to wartime prison administration), nor the horrific irony of outgoing French soldiers unable to give instructions to the incoming English-speaking prisoners of where the escape tunnel has been started due to language barriers and, in spite of the film's ahead-of-its-time portrait of a major Jewish character, Renoir also exposes the racism amongst the soldier-prisoners with respect to a Black prisoner who can ultimately only speak to himself, in hopes that someone might listen and converse with him.

As this is a prison picture, there is an escape, and it is here where Renoir outdoes himself in terms of both the suspense and the horrifying result of a character least likely to sacrifice himself as well as a character least-wanting to impart a death bullet. Get out thy handkerchiefs, folks. The death of class a la Renoir allows only for an aristocrat to welcome death at the hands of an aristocrat.

Running into yummy Dita Parlo on the run not a bad deal.

Renoir even provides deep romance (beyond that of men linked in common causes in war) and we're introduced to the lovely Dita Parlo (from Jean Vigo's L'Atalante) as a saviour and love interest. Renoir does allow for a certain sentimentality here ("sentimentality" NOT being a dirty word), but as is his wont, the master filmmaker yanks this happiness from all concerned (including us, the audience).

Finally, there is one of the great endings in film history - two men, one a mechanic, the other a Jew - both dotted together, dwarfed by the white snow of Switzerland and under threat of German bullets during their last mad dash.

Ultimately, this is a film in which escape can only mean a willing return to war, and for this, amongst so many astonishing elements, La Grande Illusion is one of the great anti-war films in cinema history.

It might even be the best.

THE FILM CORNER RATING: ***** (5-Stars)

La Grande Illusion is being screened at the Toronto Jewish Film Festival (TJFF 2016) in cooperation with the Alliance Francaise to complement the premiere of Mark Rappaport’s new documentary on French Jewish actor Marcel Dalio. The screening will feature guest speaker Professor Chris Faulkner, author of "The Social Cinema of Jean Renoir".

The out-of-print Criterion Collection DVD is still available for rent at special video stores (in Toronto that includes, Queen Video, Bay Street Video and Suspect Video). Most major cities still have video stores like these. This edition of the film can still be purchased new or used at Amazon.com by visiting this link HERE. Amazon offers premium pricing, but also very reasonable used pricing options. The Criterion edition includes: Newly restored digital transfer, created from the long-lost camera negative, a New and improved English subtitle translation, A rare theatrical trailer in which Jean Renoir discusses both Grand Illusion and his personal war experiences, an Audio essay by film historian Peter Cowie, an Archival radio presentation of Renoir and Erich von Stroheim accepting Grand Illusion’s Best Foreign Film honours at the 1938 New York Film Critics Awards, Press book excerpts, Renoir’s letter “to the projectionist,” cast bios, an essay on Renoir by von Stroheim, and essays about the film’s title and recently recovered camera negative, plus a very interesting Restoration demonstration.

Modern Quebecois Masterpiece joins Greg Klymkiw's 10 Best List of Blu-Ray/DVD Releases of 2012 - Today's Accolade is Sebastien Pilote's LE VENDEUR (accompanied by Pilote's stunning short drama DUST BOWL HA! HA!)

The Best Blu-Ray and DVD Releases

of 2012 as decreed by Greg Klymkiw

This was a stellar year for Blu-Ray and DVD collectors that it's been difficult to whittle my personal favourites down to a mere 10 releases. So hang on to your hats as I'll be presenting a personal favourite release from 2012 EACH and EVERY single day that will comprise my Top 10. At the end of all the daily postings, I'll combine the whole kit and kaboodle into one mega-post with all titles listed ALPHABETICALLY. My criteria for inclusion is/was thus: 1. The movie (or movies). How much do I love it/them? 2. How much do I love owning this product? 3. How many times will I re-watch it? 4. Is the overall physical packaging to my liking? 5. Do I like the picture and sound? There was one more item I used to assess the material. For me it was the last and LEAST area of consideration - one that probably surprise most, but frankly, has seldom been something I care that much about. For me, unless supplements really knock me on my butt, their inclusion is not that big of a deal. That said, I always go though supplements with a fine tooth comb and beyond any personal pleasure they deliver (or lack thereof), I do consider the educational value of such supplements for those studying film and/or those who might benefit from them in some fashion (film students or not). So, without further ado, here goes.

Greg Klymkiw's 10 Best Blu-Ray & DVD Releases of 2012 (which will be compiled in alphabetical order in one final mega-post). Today's Title (more to follow on subsequent days) is none other than:

Le Vendeur (2011) ***** dir. Sébastien Pilote Review By Greg Klymkiw


This stunning Quebecois kitchen sink drama is so raw and real, the pain evoked so acute, you'll be devastated by its quiet power while at the same time you'll be dazzled with its cinematic genius.

While the thematic concerns and narrative of Le Vendeur are both timeless and universal, and though it is set in a small factory town in Quebec, I was profoundly moved and deeply taken with just how Canadian Sébastien Pilote's astounding film is. This staggeringly powerful, exquisitely-acted and beautifully written motion picture is easily the first genuine Quebecois heir apparent to the beautiful-yet-not-so-beautiful-loser genre of English Canadian cinema of the 60s and 70s (best exemplified by films like Don Shebib's Goin' Down the Road, Peter Pearson's Paperback Hero and Zale Dalen's Skip Tracer).

The title character of Pilote's great film is ace car salesman Marcel Lévesque (Gilbert Sicotte). He lives in a small town on the brink of complete financial collapse - the primary industry has shut down production and locked out its workers and yet, while people are starving, losing everything, moving away and many local businesses close forever, Marcel turns a blind eye to all of this. He's not the undisputed Salesman of the Month in this dealership for nothing - and not just one month, but EVERY month, for years on end. Financial crisis be damned! There are cars on the lot and they need to be moved. And they will be moved. At any cost.

For Marcel, life is selling cars. His late wife has been six feet under for a long time and his only real human connection is to his daughter Maryse (Nathalie Cavezzali), a hairdresser and single mother to Antoine (Jérémy Tessier). If it weren't for them, he'd have even more time to sell cars. He is, however, in spite of this obsession, a devoted, loving and caring father and grandfather. He makes regular visits to his daughter's shop, attends local events with her, watches his grandson play hockey in the local arena whilst gently tut-tutting any suggestion from his only surviving blood relations that perhaps he should retire.

He is a friend to everyone in town, yet in reality, he has no friends. His effusive manner with all he meets is part of his ongoing schtick - he knows damn well that people will buy from someone they like. And he must be liked to be successful.

Success, however, can mean many things to many people and as the film progresses, Marcel tragically discovers what success can really mean and how fleeting it is and how easy it can pass us by.

Le Vendeur is a great film. You owe it to yourself to experience it.

Luckily, it is available on Blu-Ray and I highly advise that it's a title you'll want to own. A first viewing will knock you on your ass. Subsequent viewings will yield even deeper and richer elements.

That said, the Blu-Ray from Seville is a no-frills affair.

At first I was fit to be hogtied and adorned with a huge apple in my mouth that it lacked a commentary track from the director in either French or English. I did, however, need to remind myself that I had an opportunity to listen to Pilote during a Q and A at TIFF and the second some incredibly lovely, intelligent words came out of his mouth, I bolted from the cinema. It had nothing to do with what he was saying (or would have said), but I was so blown to smithereens by his movie that I just wanted to go off somewhere and be alone. At the time I also assumed there would be a commentary track when the film finally made it to Blu-Ray.

Such was not the case. I asked Pilote myself why this extra feature did not exist. He dryly quipped: "I prefer to say nothing, I'm a kind of like Malick!" He explained further that he wanted the movie to speak for itself and most of all: "I seriously wanted to keep all the space on the disk to have the best picture and sound quality for the film." Pilote proudly declared that the unadorned disc allowed for no visible compression - especially in the blacks. He added: "I don't like it when we can feel compression on a blu-ray." Pilote personally supervised the transfer process to make absolutely sure the picture looked perfect. And it does.

The gorgeously lit and composed shots (and not in that annoying Quebecois TV-commercial-slick fashion, but rather blending the poetry of the cinematic image with that of Neorealism), Le Vendeur looks as impeccable at home as it did on the big screen. Though Pilote insists viewers watch the film on Plasma monitors rather than LCD, I've personally seen it on both and while Plasma is clearly superior, straight-up LCD is just fine. (My apologies to Mr. Pilote for having to contradict this.)

There IS, however, one special feature that totally sends this disc into the stratosphere. It includes Pilote's staggering short film DUST BOWL HA! HA! which Pilote suggests is "a kind of introduction for Le Vendeur and is, I think the best extra for the film."

I concur heartily. The 2007, 14-minute drama is, in my humble estimation, quite possibly one of the best short dramas I have ever seen - period. Not one of the best Quebecois short dramas, not one of the best Canadian short dramas, not one of the best short dramas of 2007, but one of the best, ever! Ever, baby, ever!

André Bouchard plays a hard-working family man in small-town Quebec who is facing more than a few uphill challenges. In spite of it all, he stoically maintains his dignity in a world where nothing and nobody escapes the crushing weight of the financial crisis. We follow him during the course of a day, from beginning to end. He's a man with a mission and he'll not rest until it is accomplished. His Buster-Keaton-like expression never cracks. The dirty, dusty, desperate town he lives in would be enough to phase most of us, but he soldiers through. Finally, at a dinner table, surrounded by those he loves most in the world, he must remove his mask. He doesn't want to, but he has no choice. Dignity is maintained, though he visage finally cracks.

I'll say no more than that. The film is gorgeously shot, beautifully acted and the script by Pilote always keeps us engaged in our hero's goal. When the rug is swept out from under us (and the character), it's no trick-pony surprise. It's inevitable - not just for this character, but for the multitudes who must face what he faces, everyday of their lives.

This is such a phenomenal portrait of humanity - so graceful and so simple - that after you watch it, you'll probably need a few moments to recover.

And then, it will be on to the feature attraction.

Le Vendeur is available on Blu-Ray and DVD from Seville Films.