The Army of Crime

Paris, 1941. Jews, Hungarians, Poles, Romanians, Spanish, Italians and Armenians. 22 men and 1 woman. Political refugees and resistance fighters. United in their stand for human rights, at first disparately then collectively, they fought against German rule and French collaboration. Their name? As coined by Vichy (the French collaborative government) propaganda, ‘The Army of Crime’.

An eclectic ensemble of characters creates a mosaic of personal stories and motivations, lending a quasi-documentary feel. Guédiguian combines this with clever stylization, including poetry by the group’s leader Missak Manouchian and radio announcements by infamous collaborator Philippe Henriot. The belief remains that each individual’s fight is for a cause greater than him or herself. As acts of resistance become increasingly public and destructive, so too does the tension, tempo and fear of capture. Yet, more pronounced than violence from either side, are the psychological questions raised: what does it mean to be patriotic? Loyal? Moral? And how far will ‘The Army of Crime’ go?

Focusing on the ethical ambiguities of war, audiences may recall Jean-Pierre Melville’s Army of Shadows (1969). However, Guédiguian creates a unique perspective here with the portrayal of an ‘unwanted resistance’, who despite fighting for their adopted country are not welcomed by it nor arguably by The French Resistance at large.

The Army of Crime was screened ‘Out of competition’ at Cannes Film Festival, 2009. Striking performances from all cast members include Simon Abkarian (Casino Royale), Virginie Ledoyen (The Beach), Jean-Pierre Darroussin (A Very Long Engagement), Ariane Ascaride (Marie Jo and Her Two Lovers) and Grégoire Leprince-Ringuet (Love Songs). Guédiguian proves once again that, be it in a contemporary social drama or an explosive historical moment, few match his innate rapport with actors and ability to orchestrate such brilliant ensembles.

Kate Ingram