나는 고발한다

나는 고발한다 (1919)

J'accuse

1914년 프랑스 남부 프로방스, 주민들은 독일과의 전쟁 선포를 환영한다. 그중 질투심 많고 폭력적인 성향인 프랑수아 로린은 에디트와 결혼하지만, 그녀가 시인 장 디아즈와 불륜 관계라고 의심해 그녀를 로렌 주로 보낸다. 하지만 그녀는 그곳에서 독일군에게 강간당한다. 제1차 세계대전을 배경으로 한 비극적 드라마이자 몇몇 평론가는 반전 영화라고 평하기도 한다. 감독인 아벨 강스는 1920년대 프랑스 인상주의 영화 감독들 중 가장 중요한 인물이자 플래시백 등 무성영화의 전형적인 연출 스타일을 만들었다.

개봉일
1919-04-25
TMDB
7.4 / 10 (70)
상영 시간(분)
2시간 45분
장르
전쟁, 드라마
감독
아벨 강스

출연진

흥미로운 사실

J'accuse is a 1919 French silent film directed by Abel Gance. It juxtaposes a romantic drama with the background of the horrors of World War I, and it is sometimes described as a pacifist or anti-war film. Work on the film began in 1918, and some scenes were filmed on real battlefields. The film's powerful depiction of wartime suffering, particularly its climactic sequence of the "return of the dead", made it an international success and confirmed Gance as one of the most important directors in Europe.

Production

Abel Gance had been drafted into the French Army's Section Cinématographique during World War I, but he was later discharged because of ill health, a piece of good fortune to which he later said he owed his life. He had already formulated the idea for J'accuse.

The sequence of the "return of the dead" at the end of the film was shot in the south of France by using 2000 soldiers who had come back on leave. Gance recalled: "The conditions in which we filmed were profoundly moving.... These men had come straight from the Front – from Verdun – and they were due back eight days later.

For the film's opening title, a large group of soldiers, filmed from above, is formed up to shape the letters J...A...C...C...U...S...E. In the middle of preparing the shot, a general asked Gance what was happening. Gance stalled until the shot was complete and then explained to the startled general that he was "accusing the war... accusing men...

Asked whether he regarded J'accuse was a pacifist film, Gance replied: "I'm not interested in politics.... But I am against war, because war is futile. Ten or twenty years afterward, one reflects that millions have died and all for nothing.

The technical quality of the film was impressive, especially the cinematography of Léonce-Henri Burel with its subtle use of lighting effects and a mobile camera. For the battle scenes in the last section of the film Gance also introduced some of the techniques of rapid editing which he would develop much further in his later films La Roue and Napoléon.

위키백과에서 더 읽기 · 텍스트 출처: 위키백과, CC BY-SA 4.0. 데이터 출처: Wikidata.

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