Copyright 1952 Silver Films
★ ★ ★ ★ 1/2
I was in a pretty open mood as far as movies were concerned yesterday, one of those rare times where almost any genre would do. Due to a tight time frame, Maddie and I were looking for something under an hour and a half, so we settled on the 1952 French war drama Forbidden Games.
The film, based on the novel Jeux interdits by Francois Boyer, was directed by renowned filmmaker Rene Clement and was the winner of multiple awards including the Academy Award for Best Foreign Language Film upon its release.
In 1940, during the German air assault of France, a crowded highway in the French countryside is bombarded. A young girl, Paulette (Brigitte Fossey), runs after her dog, Joch, after he jumps from her arms in fear of the bombs. Her parents pursue her in terror as the bombs and bullets fly down from overhead. In the aftermath, both of her parents and her little dog are slain. Alone and confused, she wanders from the dirge of people on the crowded highway into the wilderness with her deceased puppy in arms. Nearing a family farm, a young farm boy, Michel (Georges Pouljouly) finds her in the woods as he is wrangling a strayed cow. They make fast friends and he brings her back to his house. His poor family reluctantly agrees that she can stay, only out of disdain that the feuding neighbors might get rewarded for their patronage by taking her in their stead if they declined. Michel, who is schooled in his catechism quite well, tries to comfort the distressed Paulette over the loss of her parents and dog by explaining that people and pets can be buried in a cemetery under the rites of God and be accompanied by others so they won’t get lonely. The next day, they retrieve Joch from the woods where he was left, and bury him in the mill on the farm with a cross and last rites. Worried of his loneliness, young Paulette wants more animals for the cemetery and more and prettier crosses for their graves; Michel obliges and, perhaps, takes things too far resulting in renewed family strife.
There are a lot of powerful images in this film and scenes that are painfully realistic. Brigitte Fossey and Georges Pouljouly, just 6 and 12 at the time of filming, are tremendous on screen and have a wonderful chemistry together. Though much due needs to be given to these young actors, an almost equal amount needs to be given to Clement who would have had to have run a very nurturing and comfortable set to allow these young children to give the performances they gave. This film explores the innocence of childhood, especially in a time of chaos, and the very special bond between two children trying to cope with the circumstances surrounding them.
It’s always refreshing to see such a simple, yet moving story on the screen. Clement’s visual capture of the script was very unobtrusive, so the natural element of reality and humanism was preserved, which is what I think, makes this film such a powerful and moving movie to watch.
notesonafilm 