REUNION IN FRANCE
US, 1942, 104 minutes, Black and white.
Joan Crawford, John Wayne, John Carradine.
Directed by Jules Dassin.
Reunion In France is one of the earliest films directed by Jules Dassin. In the early forties he directed a number of programme films at M.G.M. including The Canterville Ghost. With Brute force and The Naked City in the late forties he established himself as a director of tough action films.
Blacklisted in the early fifties he went to Europe and made such interesting films as Rififi, He Who Must Die and then with his wife Melina Mercouri, Never On Sunday. He has made several films with her including Promise at Dawn, 10:30 pm Summer, Topkapi and A Dream Of Passion. This is World War Two propaganda made with the M.G.M. touch. It might be compared with such films as Joan of Paris, This Land Is Mine with their French settings. The film was also a Joan Crawford vehicle and pairs her with John Wayne who takes a subordinate role. The film is well done of its type but is heavy in its propaganda which makes it now quite dated. It is of interest historically because of the war, the director and the stars.
1. Interesting and entertaining World War Two propaganda? Its impact in its time? Dated now?
2. M.G.M. production values, black and white photography, re-creation of France? War sequences and special affects? Musical score? with the French patriotic touch?
3. The popularity of war propaganda films in the forties? The conventions of presenting France under occupation and its Nazi oppression? The loyal French? Paris? The work of the Resistance? heroics? People affected by the war? How persuasive in this film?
4. The basic plausibility of the plot: Michelle and her place in Paris society, Robert and his authority in French Industry, his supporting the Nazis, his place in the Vichy government, the discovery that this was his cover? Pat and his American prison, France, the need to escape, the Resistance helping him out? The interaction of these three characters? The Nazi background and dangers?
5. Michele as heroine? Joan Crawford credible as French fashion designer? her place in society? Her love for Robert? Her reaction to Nazi oppression? her behaviour at social events? Her loss of property? Her working in the dress shop? her having to leave Paris? Her return to her home and its being occupied? The encounter with Pat, her helping him in the street? The preparation for the escape? The dangers with the Nazis? Robert's intervention? The discovery of the truth during the escape from Paris? Her decision to return to him and help him with his cover and anti-Nazi work? A credible
heroine for this kind of war film?
6. Robert and the initial emphasis on his dignity, loyalty, place in industry? His love for Michele? His taking her to Nazi social occasions? His reaction to her inability to stay there? His becoming more and more aligned with the Nazis? The decisions being made for industry? Peoples treating him as a traitor? The Nazi patronage? The irony of his working behind the scenes? Helping Michelle and Pat to escape? The explanation of his loyalty? Michelle's return? prospect of their work of subversion during the war?
7. Pat and the John Wayne hero? Presence in Paris? Quickwittedness in Michelle to help him evade the Nazis? His trying to stay in Paris with her help? The breaking of his cover? Need for escape? The melodramatics of the escape?
American identification with the film through John Wayne?
8. The presentation of the Nazis? occupation of Paris, administration, brutality, economics, propaganda? The range of personnel and their contacts with Robert? Michelle and her clashes? The Gestapo and their pursuit?
9. The irony of the cover Robert used to get Michelle out of Paris? The revelations of their true identities?
10. The final optimism of the film? the emphasis on deaths on behalf of others, courage and occupation, the help of the Americans, the French staying to support their country? How well did this work as narrative enjoyment? Character portrayal? Explorations of war themes and loyalty?
