La Guerre est Finie (1966)

 Alain Resnais's "La Guerre est Finie"

Being that it was the last couple of days to watch it before it was removed from the Criterion Channel, I took the time to watch Alain Resnais's 1966 film "La Guerre est Finie." Starring the incomparable Yves Montand as a weary underground Communist and his continued struggles to subvert the Spanish Franco government. Written by Jorge Semprun, the film was one of the many French films that were shifting into more political territories. 

Although I found parts of the film utterly thrilling, there was a bit too much inconsistency for me. The emotional stakes of the espoinage-esque escapades were indelible touches, but the real character-driven narrative left something to be desired. I found myself continuously losing focus on the film's thematic intentions and would oft reserve my satisfactions for something more thematic coherent. 

However, the importance of the film seems to be beyond its own artistic pursuance. At a time when the Franco dictatorship in Spain was reaching Stalin-esque levels of dissent crackdowns, the spotlight on these political issues was nonetheless crucial. This is especially true, given France's involvement in this hand-shake betwixt democracy and authoritarianism. After all, and as the film points out, it was France's middle and upper class that was funding the Franconian state through tourism funding, turning a blind eye to its neighbor's corruption for the benefit of sandy beaches and cool shores.

Another thing that offers a semblance of artistic elevation for the film is Resnais himself. Always the artist, the tone and visual rhythm of the film feels more like a frustrating dream than, say, an Italian neo-realist stark provocation of street politics. Resnais's breezy edits and transitions, his floating camera, and his inclination to abstract all render the film's politics a mere cold, unfrivolous dreamscape, or nightmare if you prefer.

Really, "La Guerre est Finie" rests on its ideals and tonal purity. Beyond these indelible attractions, I found aspects of the film to be desired. However, I still hold the film in regards as an important piece to the puzzle of 60s French films. And of course, Resnais is still close to my heart.