Summary
Diego Mora is a long-serving member of the Spanish communist party, now acting as a clandestine
go-between for activists living in exile in France and covert militants operating in Spain.
At a border control on his return to France, he is nearly arrested, but he saved by his
forged documents. Arriving in Paris, he meets Nadine, the daughter of a sympathiser,
and then rejoins his former lover Marianne, who wants to settle down with him. Diego
is frustrated in the way events are turning out in his country and voices opposition to
plans for a national strike and terrorist activity. Inwardly, he seems to feel the
war has been lost. Then he realises that he has caused the arrest of his colleagues
in Spain and must return to his country to prevent further arrests...
Review
The stylish ambiguity and other-worldliness, achieved through some stunning photography,
in Resnais’ early films would appear inappropriate for a political thriller. Yet,
in La Guerre est finie, Resnais’ most political film, the director applies his
unique cinematographic vision to create one of the most startling political films of the
Twentieth Century. The film is a radical departure from the standard fictional political
drama and evokes a disturbing sense of realism, in spite of, or because of, the unusual
nature of Resnais’ cinematography.
The script for the film was written by Jorge Semprún, a life-long member of the
Spanish communist party, who was himself active in opposing the Franco regime which divided
his country for over twenty years (following the Spanish civil war). There is no
doubt that it Semprún’s intimate familiarity with the subject which gives the film
is sense of authenticity. There is never any doubt in the mind of the spectator that this
film is relating real-life events.
The film stars one of France’s best-loved personalities, the actor-singer Yves Montand.
With his world-weary features and wistful persona, the actor is perfect for the part of
Diego, and he gives one of his best screen performances.
As in all of Resnais’ films, particularly his early works, the film lacks a strong narrative
thrust, something which will irritate viewers expecting to watch a conventional political
thriller. Resnais makes little attempt to embellish the raw drama he is depicting
in his film. Instead, he creates a unique portrait of a real-life political drama,
or, more specifically, of one man who is caught up in such a drama. The film is
much closer to Resnais’ evocative dream-like L’Année dernière à
Marienbad than to the conventional political drama, having the artistry of the former
but lacking the direction and momentum of the latter. In spite of that, La Guerre
est finie is one of Resnais’ most provocative works, a captivating and haunting piece
of cinema.
© James Travers 2001
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