Context

Rating: 8/10 (20 January 2004)

It goes without saying that a film that dares make a social comment can only be appreciated when the time and/or place is understood. "Grand Illusion" is of that genre, a film completely woven around the themes of the old vs. the new order and questions about a soldier's role. Set primarily in prison camps, the movie explores the world of prisoners (varied in social status, background and even ethnicity) hell bent on escape. But more than that, it is a study of "...human characters who were not stereotypes." (1) Later pictures revolving around prison settings most assuredly are cast with an eye towards assuring us that each type will be represented, and in fact often become the butt of jokes because of it. Not so in director Renoir's case. There are some very memorable and sometimes startling moments. The orthopedic device Von Stroheim (as the camp director) sports is very striking as is his scene (and behavior) in the bar at the very beginning of the film. There are some surprises regarding the use of languages, and the scenes involving the camp play are as timeless as a MASH rerun.
There are almost no technical flaws and the acting is superb, if not a bit over the top in the case of Rosenthal (played by Dalio). A scene involving a shooting towards the end of the movie is a stretch when a sub-2 inch automatic is employed, but that is the only (and is a pretty famous) gaffe of note. The movie has been described as occurring in three movements (acquiescence, rebellion and return) (2) and this is a fair notation. The art is how the director seamlessly moves us through this war adventure placed not on the battlefield, but primarily on the set.

(1) Bertin, Celia. 1991. Jean Renoir: A Life In Pictures. John Hopkins Press. Baltimore. (2) Crowther, Bosley. 1967. The Great Films. G. P. Putnam's Sons. New York.