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Maudite soit la Guerre / [Damn the War!], Belgium 1914.

Posted by keith1942 on July 10, 2014

Maudite soit la guerre still

This was a film programmed in ‘Lay Down Your Arms! Pacifism and War 1914 – 1918’ at Il Cinema Ritrovato 2014. A restored version of the same film was shown as part of a retrospective of the director Alfred Machin at the 1995 Il Cinema Ritrovato. Before then Machin was an almost forgotten film pioneer who worked in the Belgium, Dutch and French film industries. That year we enjoyed some thirty films directed by Machin, from shorts to full-length features. Between 1908 and 1931 Machin directed, and often scripted, a wide variety of films that fell into many different genres and into both fictional features and documentaries. Eric de Kuyper produced a bi-lingual study of Alfred Machin Cinéaste / Film-maker [French and English], that was published by he Cinémathèque Royale de Belgique together with the Cineteca del Commune di Bologna, (1995).

Maudite soit le Guerre is an anti-war melodrama. Whilst the plot does not identify the countries involved the characters’ names, dress and setting suggest Belgium/France versus Germany. Adolph (Baert) comes to train as an aviator and becomes friendly with Sigismond and his family, and romantically involved with his sister Lidia (La Berni). Then war breaks out and the friends find themselves on opposing sides in the conflict. Predictably they arrive at the same spot on a battlefield – an old windmill. Both die, but the film continues to the point where Lidia learns of the death of Adolph. The films end in a fairly downbeat manner.

Mariann Lewinsky, who programmed the 1914 series at the Festival, commented that in Machin’s films windmills often accompany death – as in this film. There was another example in La Fille de Delft (A Tragedy in the Clouds) a film directed by Machin in 1914. We also had an earlier example of the destruction of a windmill, where the mise en scène crossed over strikingly with Maudite …..

When I saw the film in 1995 it was restored to a 35 mm print, including the Pathé stencil colours, and the tinting and toning. It was the lustrous colours in particular that I remembered from then.

Nicola Mazzanti comments in the Festival Catalogue

… the chromatic composition of Maudite soit la guerre is constructed around the leitmotiv of two pastels, understated colours, the pink of the geraniums in the girl’s villa and the variations of brown (from terra die siena to ochre) of the uniforms and the battlefield, with the reds of the explosions providing the counterpoint.

For 2014 more digital work was done to ‘bring back the subtlety of those unbelievable pinks and browns’. Memory is not always reliable, but the DCP projected in the Piazza Maggiore looked rather as I remembered the 35 mm print. Unfortunately it did not run as smoothly as the celluloid. After about 40 minutes, as we started the final camera reel, the DCP ‘stuck’! The audience sat there uncertain. Gabriel Thibaudeau at the piano, who provided a fine accompaniment and who was approaching his climatic flourish, appeared stunned. Alas that was it for the evening. When I inquired later in the week it seemed that the digital box was still ‘stuck’. We may enjoy a repeat screening next year – can we revert to 35mm?

Fortunately I did have a fairly good memory from the 1995 screening. There is a scene where Lidia recognises a medallion given to Adolph. This was followed by a dream sequence, which had the finest use of colours in the whole film. And the ending is in a Convent. The film does develop as powerful anti-war stance, though it fails [as do most anti-war films] to address the actual circumstances of the 1914 conflict: [that is imperialist rivalry not events in Sarajevo].

I suppose the only positive aspect of a digital version is that it will probably circulate more widely. This is definitely a film to see when the opportunity arises. And Machin’s other works are also worth looking out for.

 

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