Louis Malle's film about the German occupation of France is based on his own experiences during that time, when he was a teenager (Malle was born in 1932) The young man is Lucien Lacombe, and he is 17 in 1944, when the German war machine has started to fall apart. He lives in occupied France, and as we get to know him, we realize he's a moral cipher with no point of view at all toward the momentous events surrounding him. He's not stupid, but his interest in the war is limited mostly to the daily ways it affects him directly.
It affects him at home, where his mother lives with her lover (his father is missing in action). It affects him at work, where he labors in his boring job at the hospital. A lot of the young men in the town are members of the underground resistance movement. They carry guns, are involved in secret schemes and don't have to mop floors. Lucien approaches the local resistance and asks to join, but he's turned away because he's too young. He wants desperately (if "desperately" isn't too strong a word for such a taciturn character) to break the mold of his life, and since the resistance won't have him, he joins the local Gestapo. This is crazy, we're thinking. Lucien joins the Gestapo almost absentmindedly, and then this bright Jewish girl falls for a guy like that. But Louis Malle's point is a complex one. Neither of these people can quite see beyond their immediate circumstances. They're young, uninformed, naive, and the fact is that adolescent sex appeal is a great deal more meaningful to them than all the considerations of history.
Louis Malle, whose previous film was the bittersweet and lovely "Murmur of the Heart" (1971), gave himself a difficult assignment this time. His film isn't really about French collaborators, but about a particular kind of human being, one capable of killing and hurting, one incapable of knowing or caring about his real motives, one who would be a prime catch for basic training and might make a good soldier and not ask questions.
As played by Pierre Blaise, a young forester who had never acted before (and who died in a road crash a few years later), Lucien is a victim trapped in his own provincialism and lack of curiosity. Louis Malle seems almost to be examining the mentality of someone like the war criminals at My Lai -- technicians of murder who hardly seemed to be troubled by their actions. That's the achievement of "Lacombe, Lucien." But what Louis Malle is never quite able to do is to make us care about Lucien, who is so morally illiterate that his choices, even the good ones, seem randomly programmed. Perhaps to show that illiteracy is the point of the film.
It affects him at home, where his mother lives with her lover (his father is missing in action). It affects him at work, where he labors in his boring job at the hospital. A lot of the young men in the town are members of the underground resistance movement. They carry guns, are involved in secret schemes and don't have to mop floors. Lucien approaches the local resistance and asks to join, but he's turned away because he's too young. He wants desperately (if "desperately" isn't too strong a word for such a taciturn character) to break the mold of his life, and since the resistance won't have him, he joins the local Gestapo. This is crazy, we're thinking. Lucien joins the Gestapo almost absentmindedly, and then this bright Jewish girl falls for a guy like that. But Louis Malle's point is a complex one. Neither of these people can quite see beyond their immediate circumstances. They're young, uninformed, naive, and the fact is that adolescent sex appeal is a great deal more meaningful to them than all the considerations of history.
Louis Malle, whose previous film was the bittersweet and lovely "Murmur of the Heart" (1971), gave himself a difficult assignment this time. His film isn't really about French collaborators, but about a particular kind of human being, one capable of killing and hurting, one incapable of knowing or caring about his real motives, one who would be a prime catch for basic training and might make a good soldier and not ask questions.
As played by Pierre Blaise, a young forester who had never acted before (and who died in a road crash a few years later), Lucien is a victim trapped in his own provincialism and lack of curiosity. Louis Malle seems almost to be examining the mentality of someone like the war criminals at My Lai -- technicians of murder who hardly seemed to be troubled by their actions. That's the achievement of "Lacombe, Lucien." But what Louis Malle is never quite able to do is to make us care about Lucien, who is so morally illiterate that his choices, even the good ones, seem randomly programmed. Perhaps to show that illiteracy is the point of the film.