J’Accuse, directed by Abel Gance, is a long, intense, & strange exploration of World War I filmed during the time the war was happening. Released in 1919, the film by the early French auteur is a raging look at war and love that uses a romantic story to link the menage a trois relationship between its three central characters with the horrors of the front. One woman (not a very interesting one), a husband (very intriguing brute), and a lover (moony poet) are pulled into an ever-more-horrible situation as war makes victims of all of them. While the story might seem hackneyed and even befuddling today, I had no problem with the melodrama and found myself becoming involved in the ways that their threesome played out. The long film brings the two men together on the battlefield and continually plays with the questions of who is strong and who is weak; who is ultimately kinder; who is most willing to sacrifice (and what). Back at home, the woman makes sacrifices of her own that impact the course of the story in even more complex ways. This is the plot that ties the strands together. The plot is not important. What matters are the scenes of war and the story of war’s impact; makes them matter is the way J’Accuse is filmed.
Watching J’Accuse is like falling into some slow and deliberate dream (not a nightmare, really). This makes its subjects of domestic violence, trench warfare, multiple betrayals, and pointless sacrifice all the more disturbing. We’re used to seeing random violence in contemporary films to the point that it’s barely noticeable. To see moments of brutality in a silent film that is beautifully composed is jarring. That they slip in almost unannounced is even stranger. That everyone serves as a symbol, as a representative type, implies vast levels of darkness.
An example of a quick moment of brutality comes early in the movie, before we even get to the war. This is when the husband, also known as the Brute, maritally rapes his wife. We don’t see the rape. What we see is her quaking by the bed, his hand coming down on her hair and pulling her up, and, for a moment, a glimpse of an exposed breast. That’s all. But I’ll never forget that image. This is only one of such moments in this film. Over and over, Gance juxtaposes beauty with evil and/or death, sometimes quite literally, as in a montage in which a closeup of a flower is contrasted with corpses in a trench.
Abel Gance briefly served in World War I before being discharged because of his health. He created J’Accuse because of the deaths of so many people he knew and because of all that he witnessed on the battlefield. Filming took place between August 1918 and February 1919 (armistice was declared in November 1918), and some of it took place at the front. He enlisted in the Section Cinématographique and filmed the battle of Saint-Mihiel; this footage appears near the end of the film. The depiction of trench warfare, however, goes through half the film; recreated fictional footage is juxtaposed with actual images from the front. J’Accuse builds slowly to a shocking death march that used two thousand actual soldiers. Surely they knew their fate, and of course we do; this makes this already eerie, disturbing scene particularly unforgettable. Gance said in an interview with Kevin Brownlow, “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. They played the dead knowing that in all probability they’d be dead themselves before long. Within a few weeks of their return, eighty per cent had been killed.”
The images in this film are exceptionally beautiful. Many frames can be separated out to create a lovely artistic photograph. To an astonishing degree Gance and cinematographer Léonce-Henry Burel are able to convey myriad meaning in single images or in particular brief scenes. It is why silent film was the perfect mode for Gance’s work; words are not only not necessary, but they actually get in the way. Gance’s career barely survived the silent era, and his sound work was never as good, though he lived for many years after it.
There are a number of surreal and/or fantasy moments in the film. Sometimes these take place when a character is daydreaming of someone or imagining a situation. Sometimes they involve the dancing skeletons that appear throughout the film. Sometimes they simply come in some kind of startling closeup of an ordinary object when we don’t expect it. I found these to be fascinating even when at times they didn’t quite work. Later filmmakers borrowed from these techniques (over and over again).
The acting in J’Accuse tends to be of the overly histrionic sort that many silent movie performers fall into. The exception was the work of Severin-Mars, who portrays the husband, Francois. His role is the most nuanced (and probably the one that most interested Gance), as he transforms himself from a killer (one of the first images involves him sitting with his dog beside a slaughtered deer) to, well, a sanctioned and heroic killer who comes to a better understanding of his fellow humans. It would have been easy to play his character as evil, but instead he becomes almost sympathetic — well, as sympathetic as anyone in the film actually is — as he is shown to be genuinely in love with his wife and very sentimental. I found this realistic, as brutal men often do also have just this type of sensitive side. Severin-Mars was also featured in Gance’s film La Roue, and he died a few years after making J’Accuse. The female role in the film is one of tragic victimization, and although the actress Maryse Dauvray is beautiful, that’s not enough to pull the character further. To Gance’s credit, though, he at least attempts to address the situation at home for those isolated people who lack knowledge of the fate of their loved ones. As for the character of the poet, his fate is not surprising — and, like Dauvray, the actor Romuald Joubé is more eye-candy than good at acting. But maybe this is all to be expected when the characters are fundamentally types placed in an epic scenario.The film was a hit in its day in its native France, giving the lie, I guess, to the notion that art films don’t make money. It did well in Britain, too, although Gance and Pathe Studios had difficulty getting it distributed in the States. Eventually United Artists came through; this was when UA was jointly owned by Pickford, Fairbanks, Chaplin, and Griffith. While J’Accuse was expensive to make, it made back far more. And its wide distribution allowed it to become an influence on countless artists.
J’Accuse is currently available in a fine DVD edition from Lobster Films in conjunction with Flicker Alley.
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