The Sorrow And The Pity Download Torrent

The Sorrow and the Pity
FrenchLe Chagrin et la Pitié
Directed byMarcel Ophüls
Produced by
  • Alain de Sedouy
  • André Harris
Written by
Production
companies
  • 18 September 1969
251 min.
CountryFrance, West Germany, Switzerland
LanguageFrench, German, and English[1][2]
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The Sorrow and the Pity (French: Le Chagrin et la Pitié) is a two-part 1969 documentary film by Marcel Ophüls about the collaboration between the Vichy government and Nazi Germany during World War II. The film uses interviews with a German officer, collaborators, and resistance fighters from Clermont-Ferrand. They comment on the nature of and reasons for collaboration, including antisemitism, Anglophobia, fear of Bolsheviks and Soviet invasion, and the desire for power.

  • 2Interviewees

The.Sorrow.and.the.Pity.1of2.The.Collapse.DVDrip.x264.AAC.MVGroup.Forum.mkv.[MKV] torrent download,torrent hash is 7706c5c0a24b3970fd48468874beef. Sep 19, 1972  “The Sorrow and the Pity” leaves you with the peculiar feeling of having spent a good deal of time, over the years, in the small French city of Clermont-Ferrand. You know the inhabitants by name, and quite a few of their faces.

Synopsis[edit]

Part one of the film, The Collapse, has an extended interview with Pierre Mendès France. He was jailed by the Vichy government on trumped-up charges of desertion after leaving France on the SS Le Masilia, together with Pierre Viénot [fr], Jean Zay, and Alex Wiltzer [fr], in an attempt to rejoin his military unit which had moved to Morocco. But Mendès France escaped from jail to join Charles de Gaulle's forces operating out of England, and later served as prime minister of France for eight months from 1954 to 1955.

Bernard Natan on trial in France for fraud circa 1936; Screenshot from the documentary The Sorrow and the Pity (part 1).

Part two, The Choice, revolves around Christian de la Mazière, who is something of a counterpoint to Mendès France. Whereas Mendès France was a French Jewish political figure who joined the Resistance, de la Mazière, an aristocrat who embraced Fascism, was one of 7,000 French youth to fight on the Eastern Front wearing German uniforms.

The film shows the French people's response to occupation as heroic, pitiable, and monstrous—sometimes all at once. The postwar humiliation of the women who served (or were married to) German soldiers perhaps gives the strongest mix of all three. Maurice Chevalier's 'Sweepin' the Clouds Away' is the theme song of the film. He was a popular entertainer with the German occupation force.

Interviewees[edit]

Persons interviewed for the film[edit]

  • Matthäus Bleibinger [fr]
  • Charles Braun [fr]
  • Comte René de Chambrun
  • Colonel Raymond Du Jonchay [fr]
  • Marcel Fouche-Degliame [fr]
  • Alexis Grave [fr]
  • Louis Grave [fr]
  • Marius Klein [fr]
  • Georges Lamirand [fr]
  • Pierre Le Calvez [fr]
  • Claude Levy [fr]
  • Elmar Michel [fr]
  • Denis Rake [fr]
  • Henri Rochat [fr]
  • Helmut Tausend [fr]
  • Roger Tounze [fr]
  • Marcel Verdier [fr]

[1][verification needed]

Persons present or speaking in archival footage[edit]

Production[edit]

Initially commissioned by French government-owned television to create a two part made for TV documentary,[3][when?] the film was banned after Olphus submitted it to the studio that hired him.[4]

Release[edit]

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The film 'had its world premiere in Germany.'[3][when?] This film was first shown on French television in 1981[4] after being banned[5] from that medium for years. In 1969, after the director submitted the film to the studio that hired him, the network head 'told a government committee that the film 'destroys myths that the people of France still need'.[4] Frederick Busi suggests that this was because of how uncomfortable it is to face the reality of collaborationism. Writing of French conservative establishment groups' reactions to the film, 'They, too, preferred that little be said about their role, and in some ways this reluctance is more significant than that of the extremists, since they represent so large a segment of society and mainly dominate contemporary politics.'[3] It is frequently assumed that the reason was French reluctance to admit the facts of French history. While this may have been a factor, the principal mover in the decision was Simone Veil, a Jewish inmate of Auschwitz who became a minister and the first president of the European Parliament, on the grounds that the film presented too one-sided a view.[6][clarification needed]

Reception[edit]

The candid approach of the 1971 documentary The Sorrow and the Pity shone a spotlight on antisemitism in France and disputed the official Resistance ideals.[7][8]Time magazine gave a positive review of the film, and wrote that Marcel Ophüls 'tries to puncture the bourgeois myth—or protectively askew memory—that allows France generally to act as if hardly any Frenchmen collaborated with the Germans.'[9] In France, after its release, communists, socialists, and 'independent groups' treated the film favorably, however, the far right disapproved on account of the director's background.[3] Some[who?] denounced the film as unpatriotic.[4] The film has also been criticized for being too selective and that the director was 'too close to the events portrayed to provide an objective study of the period.'[3][10] In 2001, Richard Trank, a documentarian of the Simon Wiesenthal Center, described it as 'a film about morality that explores the role of ordinary people'.[5] It was nominated for an Academy Award in 1971 for Best Documentary Feature.[11][12][13] It won 'the Grand Prize of the Dinard Festival [fr]'.[3][when?] It received 'a special award by the National Society of Film Critics, which called it 'a film of extraordinary public interest and distinction.'[5][when?]

In popular culture[edit]

Shoah

Woody Allen's film Annie Hall (1977) makes two references to The Sorrow and the Pity as 'a gag line' because of its long running time.[14][13][5][15]

References[edit]

  1. ^ ab'The Sorrow and the Pity (1969)'. British Film Institute. Retrieved November 3, 2018.
  2. ^'The Sorrow and the Pity (1971)'. All Movie. Retrieved November 3, 2018.
  3. ^ abcdefBusi, Frederick (Winter 1973). 'Marcel Ophuls and the Sorrow and the Pity'. The Massachusetts Review. 14 (1): 177–186. JSTOR25088330.
  4. ^ abcdJeffries, Stuart (January 22, 2004). 'A nation shamed: Why does France keep making films that glorify the Resistance and gloss over the truth about collaboration?'. The Guardian. Retrieved November 4, 2018.
  5. ^ abcdLiebenson, Donald (January 19, 2001). 'A Look at 'The Sorrow and the Pity' of France in World War II'. Los Angeles Times. Retrieved November 3, 2018.
  6. ^Simone Veil, Mémoires, Paris, 2008
  7. ^Weitz, Margaret Collins (1995). Sisters in the Resistance – How Women Fought to Free France 1940–1945. New York: John Wiley & Sons, Inc. p. 13. ISBN978-0-471-19698-3.
  8. ^Greene, Naomi (1999). Landscapes of Loss: The National Past in Postwar French Cinema. New Jersey: Princeton University Press. pp. 69–73. ISBN978-0-691-00475-4.
  9. ^'TIME magazine: Truth and Consequences'. Time. 1972-03-27. Retrieved 2012-08-27.
  10. ^Hoffman, Stanley (1972). 'On 'The Sorrow and the Pity''. Commentary. Retrieved November 3, 2018.
  11. ^'Le Chagrin et la Pitie - Cast, Crew, Director and Awards'. New York Times. n.d. Archived from the original on May 19, 2009. Retrieved November 12, 2008. Win Special Award - 1972 New York Film Critics Circle Best Foreign Film - 1972 National Board of Review Nomination Best Documentary Feature - 1971 Academy of Motion Picture Arts and Sciences
  12. ^'The Official Acadademy Awards® Database'. Archived from the original on 2013-04-15. Retrieved November 3, 2018.
  13. ^ abPetrakis, John (July 14, 2000). ''Sorrow' a Complete Look at how the French Dealt with the Nazis'. Chicago Tribune. Retrieved November 3, 2018.
  14. ^'Annie Hall Film Script'. DailyScript.com. Retrieved 2015-01-27.
  15. ^Turan, Kenneth (July 7, 2000). ''Sorrow and the Pity' Still Potent, Powerful'. Los Angeles Times. Retrieved November 4, 2018.

External links[edit]

Wikimedia Commons has media related to French resistance.
Wikimedia Commons has media related to Nazi collaborators in France.
Wikimedia Commons has media related to German occupation in France.

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Wikimedia Commons has media related to Vichy government (1940-1944).
Wikimedia Commons has media related to The Holocaust.
  • Director Marcel Ophuls in Conversation with Thom Powers, Published on Oct 8, 2015, Retrieved November 3, 2018 – via YouTube.
  • Sorrow and the Pity, Retrieved November 3, 2018 – via UniFrance.
  • The Sorrow and The Pity at the British Film Institute
  • The Sorrow and the Pity at AllMovie
  • Roger and Ebert review, Published on September 19, 1972, Retrieved November 4, 2018.
  • The Sorrow and the Pity on IMDb
  • The Sorrow and the Pity at Rotten Tomatoes
  • ‹See Tfd›(in French)‹See Tfd›(in English)Testimony File - History of the resistance of the Strasbourg French University transferred to Clermont-Ferrand
Retrieved from 'https://en.wikipedia.org/w/index.php?title=The_Sorrow_and_the_Pity&oldid=899101773'

The Sorrow And The Pity Download Torrent Youtube

Recently, a friend told me that her grand-aunt had 'horizontally' collaborated with the Germans during the war and so she was submitted to the soul-shaming head-shaving treatment. But when asked many years after why she slept with the enemy, she revealed she wanted to help her brother to escape from a camp... he was a resistant.
Had the story ended there, it would be too tragic, in fact the old woman admitted having fallen in love with the German. See, humanity is as complex as history and to understand both is to admit that we can never obtain absolute truth but rather retrieve from facts a few cognitive fragments allowing us to understand things within the realm of their inherent complexity.
And all the historical books in the world, all the documentaries will never reach that crucial dimension of a simple face-to-face conversation. For instance, a resistant will always be regarded as a hero but he could admit during a friendly chat not to have cared about causes, having more banal if not selfish reasons.
Released by Marcel Ophüls a quarter of century after the end of WW2, when many protagonists were still alive, memories intact and scars unconcealed, 'The Sorrow and the Pity' unveils slices of peoples' lives in Clermont-Ferrand during the occupation, occupants included, it's specific enough so their motives, their choices and eventually their feelings speak statements of universal and timeless reach... on an intellectual level.
Indeed, feelings are not exactly the priority of the four-hour documentary, but rather the cold and clinical examination of both a state and a state of mind. The state is German-occupied France, also known as the Vichy regime, the only to have firmly and zealously collaborated with the Nazis and the minds are of people confronted to circumstances they'd rather not have to deal with. It was France's destiny to be overpowered and face a moral dilemma so painful none of us is allowed to judge.
That's the first mindset in order to appreciate the historical value of Marcel Ophüls' groundbreaking documentary: let's not judge. If anything, this is a humbling experience. There is something in the intimacy provided by the interview format that allows everyone to speak in total transparency, even the silent pauses are more eloquent that speeches in the way they confront the action from the past to a present devoid of any pressure and obligation. That's a luxury we have and they didn't.
When asked about collaborators, a resistant admits that it takes to be a misfit, anyone afraid to lose or jeopardize something couldn't be a resistant. A British diplomat admits that no country can't judge another if it's not been under an occupying force. A former collaborator with a bourgeois background explains all casually that he couldn't embrace communism but fascism by natural choice, he doesn't dodge the interviewer's question about making the easiest and least risky one. Still, he never expected the horrors of barbarity reached by the Nazis in the camps.
The film naturally dedicates a long chapter to the Jews' persecutions and the key role the government of Vichy played through the infamous Laval, the second in charge of the country who was responsible for sending thousands of Jews to the camps after the 'Vel d'Hiv' raid and pushing the darkest zeal by sending children the Germans didn't even ask. His former son-in-law plays the devil's advocate, invoking the fact that he sent the foreign Jews to save the French ones. To which Ophüls (son of director Max, a German Jew) dismisses the argument by mentioning the many French Jews who had lost their citizenship prior to these actions.
The question creates a malaise immediately swept off by Mendes France (a French Jewish politician and resistant) and other witnesses who say that no respectable country can abandon people to the enemy, whether citizens or foreigners. One can understand the responsibility of the French government and why it deserves such a moral condemnation especially since it was Marshal Pétain, a then-Verdun hero, who 'donated his life' to France like some respectable patriarch. Context is important and most citizens weren't misfits, they had family, businesses and like the hairdresser (one of the few female interviewees) said, she admired Pétain like many did... and still does.
One should ask himself, looking at these pictures all in black and white, all in stark contrast but wrapped in mundane normality (people smoke, drink, are interviewed in their job clothes), where the noble values or the heroes were. The only feelings that are vividly recalled in these interviews were fear, hunger, and quoting one of the resistant pharmacists, 'sorrow' and 'pity'. A few of them were prone to join the 'fight against Bolshevism', some of the German interviewees didn't hide their pride, and one even harbored his Iron Cross during his daughter's wedding.
The daughter of one resistant admits anti-Semitism still exists in France and some interviewees didn't seem too focused on the crimes against the Jews. A pharmacist protested that he was victim of persecution while his name Klein had nothing to do with a Jewish background, he reminded me of a scene in 'Gentleman's Agreement' where Peck's son cried because he was victim of an anti-Semitic remark and Peck's friend consoled him by saying he wasn't Jewish, totally missing the point.
Just like war revealed souls' content, the documentary revealed the opposite human inclinations during crucial times... in a masterpiece of storytelling confronting real footage to testimonies, some even paralleled to be either belied or attested, and many musical songs from Maurice Chevalier to provide the ironic tone of an era where 'good' people acted badly or looked the other way, an era even De Gaulle overlooked to seal the national reconciliation and forge the resistance myth the film is deconstructing.
So if there's another adjective the film deserves, it's clearly 'eye-opening'.