Focusing only on the film's mise en scene (lighting, shot composition, set design, costume design), discuss this quote from the Robin Wood essay I gave you:
"How to belong, how to meet"--another way of putting it is to say that Renoir's perennial concern is with the boundaries; that keep people apart and the possibility of transcending them. The four-part structure enables him to develop this theme through a network of shifting, interlocking relationships presented consistently in terms of difference and the overcoming of difference.
Your response should be 2 paragraphs long and should include a correctly cited quote from one of the essays I gave you.
One of the most frequently used shot compositions in Grand Illusion is placing the characters within a frame as a physical manifestation of the ethnic and social boundaries found within the film. For example, a famous scene is when the officers are in the German Camp looking out at the young drilling soldiers. The men are symmetrically placed in the closed-frame of the window, and stacked in the semblance of a pyramid, reminding us of social and situational hierarchy. This composition is "a favorite Renoir motif, the window, which stresses separation (outside/inside), but is also a boundary that can be crossed or communicated across" (Wood). All of them are cramped into that tiny opening, the social boundaries between themselves disappearing in the face of their shared enemy and the fact that they're all confined in a prisoner-of-war camp together.
ReplyDeleteAnother instance of this theme of borders is in the fourth section of the movie when Maréchal and Rosenthal are escaping. Now that they’re free of the war camp, the shots are much more open-framed. Both of the men wear unassuming gray, mud-splattered coats that represent the breakdown of racial, religious, and social class boundaries in the face of surviving the wilderness, their new enemy. However, such divisions are not forgotten so easily. “ If the film celebrates the possibility of demolishing boundaries, it also acknowledges, within the existing social system, their inevitability” (Wood). Right before Maréchal and Rosenthal split up briefly, they are standing on the edge of a precipice, literally and figuratively. Behind the two-shot of the characters slinging insults at each other is a dizzying backdrop of the mountains of Germany. Even though they are now free, they still let their backgrounds come between them. Friendship, born from necessity, brings them back together, but they are again divided at Elsa’s cottage when Maréchal takes a fancy to the widow. On their last night, Maréchal closes the door on Rosenthal, then opens the door to Elsa while the camera remains in Maréchal’s room. The camera frames Maréchal and Elsa in the doorway together, leaving Rosenthal out and creating another boundary between the two officers. The next morning, Rosenthal opens the door upon the two, once again framing them in the doorway. Maréchal and Elsa are wearing complimentary colors, Maréchal wearing a black vest over a white shirt and Elsa wearing a white apron over a black shirt. Rosenthal, by contrast, wears all dark and is in the foreground rather than the background. He is now offset and left in the dark by a new boundary, a woman and all of the sexual implications that come with it.
The mise en scene in Grand Illusion is crucial to the director's intent and further emphasizes the implied meaning of what is being conveyed on screen. The framing and shot composition signify the sociocultural restrictions and maneuverings that pit society together. For example, in the performance scene, the performer is placed in closed framing where the background surrounds the performer from all open areas. The fencing in the back symbolizes a metaphorical prison cell to further drive the idea of entrapment and imprisonment. This ties into the narrative of the whole film as when thinking about wartime life, it is implied that imprisonment is an inevitable attribute during that time. This imprisonment allusion seen through the composition of the shot serves further as a symbol of imprisonment during wartime and how it not only has an effect on the war itself, but also on the people living on the outside who indirectly become victims to this imprisonment as well.
ReplyDeleteIt is also essential to acknowledge the big part that the costumes play in driving the class in social constructs even further. Von Rauffenstein is always embellished with fancy and more luxurious outfits and is always sporting a stiff collar. This represents the "stiff" manner in which he views societal differences and how his impression on social classes is strict and rigid. Whereas on the other hand, Marechal is dressed less luxuriously and more relaxed which symbolizes how he is much more lenient and relaxed with the cultural and social constraints between different classes. Renoir himself believed that "the world is divided horizontally, socially speaking, not vertically. It is not our nationalities that unite us; after all, the borders between countries are manmade and imaginary". This mentality of his was stressed upon his film which conveyed the differences in social classes and how it affected society especially during times like war.
Jean Renoir’s war film, Grand Illusion, uses physical boundaries to establish abstract boundaries such as those of class and religion. These boundaries also help deliver a reflection of World War I, presenting how times were changing, particularly the social structure of Europe. In his review of Grand Illusion, Roger Ebert stated, “It's not a movie about a prison escape, nor is it jingoistic in its politics; it's a meditation on the collapse of the old order of European civilization. Perhaps that was always a sentimental upper-class illusion, the notion that gentlemen on both sides of the lines subscribed to the same code of behavior.” Some of these material boundaries the set design includes are windows, doors, and high levels of buildings. The shot composition is affected by the framing of certain characters within or outside of some of these items for reasons both Ebert and Robin Wood have made clear.
ReplyDeleteContinuing, the framing and the shot composition relate to the physical boundaries in order to tie in with the more abstract boundaries. When Rosenthal and Maréchal, assisted by Boeldieu, elaborately flee the prisoner-of-war camp, they are faced with these boundaries and conquer them. In one shot, the two men are hurling rope out of a window, as a means of escape. Rosenthal is framed in front of one window while Maréchal is framed in front of another, instituting a distinction between them. Although their goals are the same, they are different. Maréchal is part of the working-class and is a Frenchman. Rosenthal is wealthy and Jewish. Their differences, although prominent, are set aside in this moment so they can reach their shared objective. They continue to climb out of the same window, representing these margins can be broken, whether physical and/or conceptual. Although this is only one of the many displays of how framing and shot composition correlate with the boundaries, it pretty much says it all. Renoir purposefully wanted to make a statement, as established in Roger Ebert and Robin Wood’s essays, and he does it seamlessly.
Grand Illusion is a film which even within its title mocks the social constructs man places on itself with borders, boundaries, and labels. This is especially evident within the framing of a large portion of shots in the movie, using in-story frames such as windows and door frames to get abstract ideas across visually. One example would be how, during the third act, which ends with Boldieu sacrificing himself for Rosenthal and Marcheal to escape, there is a shot of all 5 roommates in the window together. This shot is highly symbolic of how, even though they treat each other and act with a certain distinction based on class, in the end they are all still stuck together in the same situation.
ReplyDeleteIn a review, it was noted that "DeBoeldieu's separation from his fellow prisoners is easily explained by class difference." This is an idea assaulted by Marcheal, but maintained by Boeldieu in saying he's the same way with his wife and mother. This disjointed, impersonal personality is represented throughout the film as well within the framing of Boeldieu, who is often off to the side, alone, or zoomed in upon in a solo shot, whereas others are often overlapping or in the background of their peers' shots. This is because they see each other as equals stuck in an intimate experience and space, whereas Boeldieu does not.
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ReplyDeleteBoundaries are a key piece to the "Grand Illusion" created by Renoir. Windows and doors are used to create a sense of imprisonment in casual non-prisonlike settings. Costume design is also a very important part of the film. Every characters clothing emphasizes their characteristics and qualities and helps to humanize every character while also dividing certain characters.
ReplyDeleteThe quote "the world is divided horizontally, socially speaking, not vertically" shows a key idea in the film. This idea is that boundaries are an illusion and nobody is truly above or below anybody else, rather separated equally by imaginary boundaries. Characters are almost never shown as above or below each other in frame, and are rather shown at the same height but separated by a physical barrier.
In the development of Grand Illusion, Jean Renoir placed heavy emphasis on barriers-windows, doors, et cetera-as a means to visually symbolize the relationship barriers between his characters, whether from country, culture or class. He portrays people on both sides as equally human, with their only differences being that which mankind has imposed upon them, whether figuratively or literally. Repeatedly, characters are placed opposite or confined in such barriers that grant them sight or reprieve from the opposing side, but prevents them from ever truly crossing the barriers in the first place. Take the scene where the French POWs crowd around the open window to watch the German soldiers marching; despite their relative comfort with their Christmas supper, their status as prisoners still keeps them away from the true freedom of the outside, and the fact that they crowd around and above each other in dark clothing despite the closed windows on either side further supplants this fact.
ReplyDeleteIn another scene, wherein Marechal has been locked in solitary confinement to the end of his wits, he is approached by the poor German guard who has been tending to him during his solitude. No longer able to make feeble escape attempts, he rants at the guard about how he’s exhausted of being locked up, and about how much he wants to see light and hear french voices. The guard is unable to help him; but, in a moment of genuine compassion for a fellow poor soldier, he gives Marechal his harmonica. Marechal plays it tentatively, and the soldier happily hums along to the tune. As he leaves out the door, an officer asks him what the yelling was about, to which he responds “The war’s too long”. In essence, this scene embodies some of the core themes Renoir was working with, and he shows it through the mise-en-scene; the German soldier moves in through the barrier to Marechal’s cell, and moves out away from his superior officer through the door. Though the cell door is thicker as indicative of the war keeping the two soldiers apart based off their nationalities, the German soldier still makes an effort to cross the barrier and offers genuine understanding thanks to their shared class background. Meanwhile, the barrier between the German soldier and officer, though open, is shown smaller and darker than the cell, simply because they cannot relate to each other. As Renoir himself said it, “If a French farmer found himself dining with a French financier, those two Frenchman would have nothing to say to each other. But if a French farmer meets a Chinese farmer they will find any amount to talk about.
In Jean Renoir's "Grand Illusion", the mise en scene adds a lot to the overall narrative of the story. Renoir made it very clear that throughout the film the characters felt as though they were trapped or even isolated due to the environment they are in. Renoir does this by framing the characters within the frame of the screen using subtle things like doorways and windows. For example, in that one scene where the prisoners play a prank on the guard by all playing their little flutes at the same time, they do have their little but of fun but they aare still prisoners. And that point is reiterated when a guard checks one of the rooms and when he walks out, you can see the entirety of the table and everyone sitting at it through the door frame; which symbolizes their underlying feeling of being trapped.
ReplyDeleteThe mise en scene is also very important to another scene where a crate of women's clothes are found and one of the soldiers decides to put some on. The costume design in this particular scene is interesting mainly because of how the other men react to that one dressed as a woman. You can see how all of the men slowly stop everything they are doing to look at the man in drag, but they aren't making fun of him; they seem to be more attracted to him and awestruck by how much he looked like a woman. This was due to the fact that the soldiers had been away from women so long that even the sight of what looked like a woman caught their immediate attention. And in the words of Robin Wood, "Its intensity exceeds anything explainable in terms of nostalgia for absent women: the androgynous figure becomes the center of the men's fascination and attraction."
Grand Illusion is a model film when speaking of cinematic elements and how they affect the explicit and implicit meanings of the film. There were several different groups presented in the film. The separation between ranks, between languages, and between two different sides of the war. Cinematically those boundaries were shown using angles, costume and sets. This is most visibly shown through costume design. Different sides of the war had different uniforms, different ranks having different uniforms than people within their side. The higher level soldiers had a relationship with the other higher levels the same way those who spoke the same language had a different relationship. No matter what sides they were on. Yet the same way those groups knitted people together it also created boundaries between those groups. While those on opposite sides could merge based on language or rank those who did not meet the same rank or language or side of the war were therefore excluded. Windows and doors were especially used to highlight the exclusion of the captured soldier. Pearing out of a crowded doorway or window at the free and open soldiers it was clear the relationships and boundaries being presented in the movie.
ReplyDeleteThe quote from Ebert "It's a meditation on the collapse of the old order of European civilization. Perhaps that was always a sentimental upper-class illusion, the notion that gentlemen on both sides of the lines subscribed to the same code of behavior. Whatever it was, it died in the trenches of World War I." is extremely indicative of the implicit meaning of the film. Throughout the film borders were crossed and met midway at a common group such as rank or language. Yet in the end it all came down to what side of the war they were on.
Throughout the film, Renoir deliberately placed the characters in enclosed frames to keep them separate or isolated based on their status. These boundaries are often in the form of windows or doorways that make it seem as though the characters are trapped. In one scene, all of the main characters who are imprisoned, including Marechal, Boldieu, and Rosenthal are shot within a window frame as they watch the German soldiers outside. They are kept contained from the outside world, but it is important that they are all men of different social classes being brought together on the screen. They are not separated from the rest of the world based on their background, but instead for their loyalty to France during war. In another scene, Boldieu and von Rauffenstein, two aristocrats from enemy forces are placed within another window frame. They are brought together by their shared experiences as wealthy military officials, but separated from the others by the knowledge that their position in society will no longer be relevant after the war. The use of windows creates boundaries that cut off the characters from those that are different, but also contains characters with similarities that may not be immediately apparent. Once Marechal and Rosenthal escape, they are often shown in landscape shots with much more open framing. Although these characters have cultural differences, once they escape the place that separated them into groups in the first place, they suddenly have to face their journey without these superficial barriers.
ReplyDeleteOther aspects of mise en scene, such as lighting and costume, also emphasize the ethnic or class distinctions between different characters. Although nearly every character is shown in military uniform at some point, Boldieu and von Rauffenstein were rarely seen without them. By comparison, more working class characters like Marechal were often dressed in clothing that was more casual and less luxurious. This highlights the difference in the class rank between characters, and strengthens the connection between Boldieu and von Rauffenstein, despite the fact that the countries that they fight for are enemies. Another thing that I noticed about costumes was that Marechal seemed to wear darker colors more frequently the longer he was imprisoned. This may represent the negative effects of isolation from the outside world, until he breaks down and yells at a German guard about his grievances toward the war. The lighting in the indoor scenes where the French prisoners are kept seems to come in from the windows. The source of light further emphasizes that, although they are not being severely mistreated by the their captors, they are still affected by their containment from the outside world.
Throughout the film, Renoir deliberately placed the characters in enclosed frames to keep them separate or isolated based on their status. These boundaries are often in the form of windows or doorways that make it seem as though the characters are trapped. In one scene, all of the main characters who are imprisoned, including Marechal, Boldieu, and Rosenthal are shot within a window frame as they watch the German soldiers outside. They are kept contained from the outside world, but it is important that they are all men of different social classes being brought together on the screen. They are not separated from the rest of the world based on their background, but instead for their loyalty to France during war. In another scene, Boldieu and von Rauffenstein, two aristocrats from enemy forces are placed within another window frame. They are brought together by their shared experiences as wealthy military officials, but separated from the others by the knowledge that their position in society will no longer be relevant after the war. The use of windows creates boundaries that cut off the characters from those that are different, but also contains characters with similarities that may not be immediately apparent. Once Marechal and Rosenthal escape, they are often shown in landscape shots with much more open framing. Although these characters have cultural differences, once they escape the place that separated them into groups in the first place, they suddenly have to face their journey without these superficial barriers.
ReplyDeleteOther aspects of mise en scene, such as lighting and costume, also emphasize the ethnic or class distinctions between different characters. Although nearly every character is shown in military uniform at some point, Boldieu and von Rauffenstein were rarely seen without them. By comparison, more working class characters like Marechal were often dressed in clothing that was more casual and less luxurious. This highlights the difference in the class rank between characters, and strengthens the connection between Boldieu and von Rauffenstein, despite the fact that the countries that they fight for are enemies. Another thing that I noticed about costumes was that Marechal seemed to wear darker colors more frequently the longer he was imprisoned. This may represent the negative effects of isolation from the outside world, until he breaks down and yells at a German guard about his grievances toward the war. The lighting in the indoor scenes where the French prisoners are kept seems to come in from the windows. The source of light further emphasizes that, although they are not being severely mistreated by the their captors, they are still affected by their containment from the outside world.
Renoir uses door and window barriers in this film to represent the actual imprisonment of the soldiers and the barrier of social class, religion, and race. In one scene Marechal, Boldieu, and Rosenthal are all framed on screen all next to each other with the border of a window frame. They are looking outside at the German soldiers marching. This scene shows how they are all trapped as prisoners of war, yet they all have the common want of freedom despite their rank, race, or religion. At this brings light to how the world was changing and becoming just a little more accepting of each other to where the characters, just how the world was evolving, were able to sympathize with each other enough to live together and eventually create relationships with each other.
ReplyDeleteEbert says “It's not a movie about a prison escape, nor is it jingoistic in its politics; it's a meditation on the collapse of the old order of European civilization. Perhaps that was always a sentimental upper-class illusion, the notion that gentlemen on both sides of the lines subscribed to the same code of behavior.” He speaks on how the upper class almost believe that they are exempt from war and the consequences of war. As the world is progressing into a new view they may start to realize that class barriers do not separate them from the world as a whole or the behavior of those poorer than them. The general respects Boldieu and tells him that he does not belong there. He thinks just because they are on the same rank and class level, they act the same and are different than the other prisoners. He later realizes that is not the case when Boldieu helps the two men escape. This shows the new world view coming into play and how barriers from the rest of the world can open up views of things you have not seen on the outside.