Director:
André Téchiné
Starring:
Emmanuelle Béart
Gaspard Ulliel
Grégoire Leprince-Ringuet
Clémence Meyer
Release: 14 May 2004
IMDb
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Strayed
BY: DAVID PERRY
André Téchiné, one of the most resourceful filmmakers working
today, has the ability to make audiences forget everything that doesn’t
directly affect the story at hand. Never is this more visible than in
Strayed, his wartime idyll that provokes the audience to loosen up to his
story as his characters loosen to his tranquil setting.
Coming soon after Jean-Paul Rappaneau regressive Bon Voyage, a French World
War II film that could have seriously harmed the French film industry if not
for its disastrous reception, this attempt to deal with the French plight
during the war is more articulate, more precise. The social order is shaken,
much like in Bon Voyage, but Téchiné’s characters are more than just broad
caricatures for the whims of the director. The four people at the center of
Strayed are amazingly human, their pain and anguish understood long before
they begin to talk about it.
I credit Téchiné for knowing how to establish his story of surviving the
war, opening the film on newsreel that disturbs before his first frame of
original work. But he’s not one to ask for easy emotions like sadness,
ecstasy, and lust (although all, in different forms, converge on the
characters). Téchiné’s modus operandi is one of seeming tranquility in a
time of deep destruction. The opening scenes are set around German planes
shooting the Paris citizens attempting to move south -- but this is far from
representative of what Strayed ultimately offers. Instead, this is mainly
about people coexisting in a place so peaceful that time seems to have stood
still. Their bumbling attempts at redefining their lives in a time of great
sorrow isn’t without setbacks, but they feel earned, punishment for their
willingness to hide away from a war that is tearing their country apart and
for taking in a bourgeois life they might not warrant. It is a slow film,
but one with shocks that cannot be overlooked, none more so than learning at
the conclusion how long they’ve been together.
Terrence Malick did something similar with The Thin Red Line, letting his
setting speak as much for the war effort as the people embroiled in it. Even
if Strayed never reaches the levels of Malick’s tour-de-force work (perhaps
the greatest war film ever made), it has something to say about the
tangential figures in the war: the women, children, and enfants terrible who
must travel the beautiful countryside to find the last life in the universe.
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