In 1937, Jean Renoir directed GRANDE ILLUSION, the first great (maybe greatest) POW film and one of the most influential motion pictures ever made. Even though this movie shows the influence, one should keep in mind that most POW movies of the time do so as well, from STALAG 17 to BRIDGE ON THE RIVER KWAI. However, rather than focus how THE ELUSIVE CORPORAL resembles GRANDE ILLUSION, what's more interesting I think is how it differs.
GRANDE ILLUSION used the POW camp as a metaphor for society, with all three classes represented. This film does not. It has no wealthy aristocrats, like Erich Von Strohiem's character. Some might compare Rich's character Ballochet to Pierre Fresney's Captain Boldieu, but doing so neglects that Ballochet is not an aristocrat; he only acts like one. Before becoming a POW, he was a gas meter attendant. Staying in the prison camp allows him to escape reality, for it offers him a deluded and misguided sense of comfort. This is why he does not want to leave it (until his final moment of self completion, of course). In this respect, Ballochet is unlike any character in GRANDE ILLUSION.
Saying that the POW camp in THE ELUSIVE CORPORAL reminds one of a country club ignores that virtually every other prisoner-of-war movie did the same. Only Bryan Forbes's unique KING RAT, released three years after this one, was a film that showed a prisoner-of-war camp as Godawful. I also don't see how viewers could interpret life in this film's camp is all that enviable. While it's true that Ballochet obtains a sinecure that allows him easy work and extra rations, the movie clearly condemns him and also shows that he's an exception. Many times, we see most prisoners working, often performing menial, unheroic labor (ie, emptying the latrine's cesspool tank--a symbol of those, like Ballochet or Pater, who choose the stagnation of remaining in prison). Rarely do we see the prisoners idling the time away. Unlike most POW movies, we're reminded that they are not only prisoners, but enslaved labor.
If one wants comparisons, one might more profitably compare THE ELUSIVE CORPORAL to French prison movies made just a few years before it (ie, A MAN ESCAPED and LE TROU). Like those films, this movie's concerns are not so much for society but for individuals, and, like THE ELUSIVE CORPORAL, they use escape as a metaphor for attaining selfhood (unlike GRANDE ILLUSION, which shows that even after escaping the prison, the prisoners still remain imprisoned---by their illusions).
Maybe this movie is not a perfect film (though I'm not sure about that), but it's certainly worthwhile. It's beautifully lensed, often presenting a gray, misty look. It intersperses documentary footage to remind us of how chaotic the reality outside the camp was like. And yes, one can say it resembles GRANDE ILLUSION, but one could also just as easily say it resembles PAPILLION. The point is not that it doesn't, because, actually it does. But then again, it's also quite different.
That it was made with such a small budget proves that Renoir's genius was still potent even toward the end of his career. It's a dramatic, humorous, subtle, and under-appreciated work of cinema.
GRANDE ILLUSION used the POW camp as a metaphor for society, with all three classes represented. This film does not. It has no wealthy aristocrats, like Erich Von Strohiem's character. Some might compare Rich's character Ballochet to Pierre Fresney's Captain Boldieu, but doing so neglects that Ballochet is not an aristocrat; he only acts like one. Before becoming a POW, he was a gas meter attendant. Staying in the prison camp allows him to escape reality, for it offers him a deluded and misguided sense of comfort. This is why he does not want to leave it (until his final moment of self completion, of course). In this respect, Ballochet is unlike any character in GRANDE ILLUSION.
Saying that the POW camp in THE ELUSIVE CORPORAL reminds one of a country club ignores that virtually every other prisoner-of-war movie did the same. Only Bryan Forbes's unique KING RAT, released three years after this one, was a film that showed a prisoner-of-war camp as Godawful. I also don't see how viewers could interpret life in this film's camp is all that enviable. While it's true that Ballochet obtains a sinecure that allows him easy work and extra rations, the movie clearly condemns him and also shows that he's an exception. Many times, we see most prisoners working, often performing menial, unheroic labor (ie, emptying the latrine's cesspool tank--a symbol of those, like Ballochet or Pater, who choose the stagnation of remaining in prison). Rarely do we see the prisoners idling the time away. Unlike most POW movies, we're reminded that they are not only prisoners, but enslaved labor.
If one wants comparisons, one might more profitably compare THE ELUSIVE CORPORAL to French prison movies made just a few years before it (ie, A MAN ESCAPED and LE TROU). Like those films, this movie's concerns are not so much for society but for individuals, and, like THE ELUSIVE CORPORAL, they use escape as a metaphor for attaining selfhood (unlike GRANDE ILLUSION, which shows that even after escaping the prison, the prisoners still remain imprisoned---by their illusions).
Maybe this movie is not a perfect film (though I'm not sure about that), but it's certainly worthwhile. It's beautifully lensed, often presenting a gray, misty look. It intersperses documentary footage to remind us of how chaotic the reality outside the camp was like. And yes, one can say it resembles GRANDE ILLUSION, but one could also just as easily say it resembles PAPILLION. The point is not that it doesn't, because, actually it does. But then again, it's also quite different.
That it was made with such a small budget proves that Renoir's genius was still potent even toward the end of his career. It's a dramatic, humorous, subtle, and under-appreciated work of cinema.