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Movies : Forbidden Games (1952) [The Criterion Collection #318 - Out Of Print] [ReUp]
 
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Forbidden Games (1952)
A Film by René Clément
DVD9 | VIDEO_TS | NTSC 4:3 | Cover + Booklet | 01:26:03 | 7,66 Gb
Audio: #1 French AC3 1.0 @ 192 Kbps; #2 English dub AC3 1.0 @ 192 Kbps | Subs: English
Genre: Art-house, Drama | The Criterion Collection #318

A timeless evocation of childhood innocence corrupted, René Clément's Forbidden Games tells the story of a young girl orphaned by war and the farm boy she joins in a fantastical world of macabre play. At once mythical and heartbreakingly real, this unique film features astonishing performances by its child stars and was honored with a special foreign language film Academy Award in 1952.
IMDB | Criterion - OUT OF PRINT | Wikipedia | DVDBeaver | Amazon

"Premiering seven years after the end of World War II, the vision in René Clément's Forbidden Games of children turned monstrous by images of warfare was powerful evidence of the lasting, calcified scars that result from humankind turning on itself. There had been dozens of jingonistic war movies during the war itself (especially from the U.S.), and although neorealism and other emergent cinematic forms had portrayed its ugly aftermath, few films approached the somber humanism of Clément's macabre masterpiece.

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Rejecting the tendency to view children as idealized ciphers of human innocence, Clément uses them to depict just how fragile humanity is in the face of war. Taking place in 1940, as the Germans bombed France and civilians fled Paris for the countryside, Forbidden Games tells the story of the relationship between five-year-old Paulette (Brigitte Fossey) and nine-year-old Michel (Georges Poujouly). The film's opening moments dispense with all sentimentality by killing off not only Paulette's parents in a hail of German machine gun fire, but also her new puppy, Jock, whose lifeless body she insists on carrying around with her.

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When Michel finds her wandering around near his peasant family's farm, he brings her home like a lost animal. His father and mother (Lucien Hubert and Suzanne Courtal) are reluctant to take her in, especially since they are brimming with their own problems, including a dying son who was kicked by a horse and a longstanding feud with their neighbors, the Gouards. However, with her porcelain doll skin, luscious golden locks, and brimming eyes, Paulette is too angelic-looking a child to be deserted; yet, that very angelic exterior is the perfect façade for something deeply disturbed within.

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Obsessed with death, Paulette brings Michel into a realm of strange fantasy play in which they deal with the world at war by replacing it with a world of death of their own making. In a bizarre variation on Freud's screen memories, in which false traumatic memories are used to hide real (and worse) ones, Paulette and Michel build an animal cemetery in a deserted mill, pouring their time and attention into its creation and maintenance. However, this seemingly innocent ode to memorializing the fallen requires them to kill small animals to bury alongside Paulette's beloved Jock so that "he won't be alone." Even more distressing is the way Paulette controls Michel, gently and blissfully goading him into more and more extreme activities to satisfy her desires. This eventually culminates in his stealing crosses from the local cemetery, which sets off a fierce (and admittedly comical) battle between his family and the Gouards, who blame each other for the desecration.

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Strange as it is, the film works because of Clément's consistently inventive and creative direction (note how easily he slides between disparate tones, from the outright horror of the initial Nazi air attack on the road from Paris to the meet-cute between Paulette and Michel). It also works because of the two astonishing performances by its child actors. Five-year-old Brigitte Fossey is astonishing in her naturalism, conveying without a hint of falseness a child's simultaneous egoism and innocence. Georges Poujouly has a slightly more complex role as Michel, as he must balance his childish desires to please Paulette's every whim with a clear sense of growing morality.

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Oddly enough, Forbidden Games began as a short film, and it so impressed fellow director Jacques Tati (who had yet to make his first feature-length film, M. Hulot's Holiday) that he convinced Clément to turn it into a feature. The film had already had a fairly intriguing history, having been originally conceived as an unsold screenplay by François Boyer that was then turned into a novel that met with great acclaim in the United States and was subsequently readapted for the screen. Not surprisingly, it met with varied responses. Some felt that it was not a proper depiction of either French peasant life or the effects of warfare, but others saw it for what it was: a devastating look at how violence seeps into the fabric of everyday life and affects everyone in its wake.
James Kendrick, QNetwork
"


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"Movies like Clement's "Forbidden Games" cannot work unless they are allowed to be completely simple, without guile, transparent. Despite the scenes I have described, it is never a tear-jerker. It doesn't try to create emotions, but to observe them. Paulette cannot speak for herself, and the movie doesn't try to speak for her. That's why it is so powerful: Her grief is never addressed, and with the help of a boy who loves her, she surrounds it with a game that no adult could possibly understand, or penetrate.
Excerpt from Rober Ebert's Review
"


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"Edition Details:
- New, restored high-definition digital transfer
- New and improved subtitle translation
- Collection of new and archival interviews with director René Clément and actress Brigitte Fossey
- Alternate opening and ending to the film
- Original theatrical trailer
- Optional English-dubbed soundtrack
- Liner notes essay by film scholar Peter Matthews"

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