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"like dogs," in a large unmarked pit with other victims of the air There is the suggestion that Paulette's dead parents have been buried Symbolism recurs constantly through the film. Paulette's new hobby, in a sense, reflects her own manner of dealing withĭoes not view it as a macabre obsession but rather as a means through which to That even the smallest creatures need not be alone in eternal sleep. Eventually, the entire world of these children is fixated upon ensuring Insects, burying the dead and erecting makeshift crosses over the tiny graves. Recovers her dead little dog and, in burying it, begins to build a hiddenīegin to collect a myriad assortment of creatures, from chicks to worms to They can express their own sorrow or personal regrets through the smaller With the inevitable issues of death, increasingly prevalent in the countrysideĬhildren may have little sway over the deaths of the adults before them, but The sounds of distant thunder, Paulette and Michel retreat ever further intoįrom the anarchy of a society close to collapse, the two children begin to deal The echoes of war draw ever closer, aerial fire exploding in the night amidst Welcomes her openly into their humble country home. Michel's family likewise takes pity upon the poor little girl and Initially, Michel bemusedly regards Paulette as a new pet that hasįollowed him home, but soon they become close friends and Paulette quicklyĪccepts him as a protective, older brother. Although he is a stranger, his presence offers the lonely andįrightened Paulette a supportive friend to whom she clings tightly. Ten-year old peasant boy, Michel Dollé (Georges Poujouly). In the midst of the erupting chaos, the wandering Paulette is befriended by a Sadly, as German bullets rain down from above, Paulette's world is tornĪsunder when her parents and pet dog are killed before her eyes. Into the countryside without attracting the attention of the deadly Germanįleeing Paris are five-year-old Paulette (Brigitte Fossey) and her family. Supreme in the skies above, panicked French civilians scramble to cross a bridge Invasion of France by Nazi Germany is at hand, and as the German Luftwaffe soars Their sincerity such that we may forget that these children are performers in aįilm, not real children captured on documentary footage.
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Quatre cents coups, Brigitte Fossey and Georges Poujouly disarm viewers with Like Victoire Thivisol in Jacques Doillon's Ponette or Jean-Pierre Léaud's in François Truffaut's Les Magical, conveying the purity of children's natural behavior. Performances by stars Brigitte Fossey and Georges Poujouly are honest and In this case, the film conveys the imaginative or sublimating behaviorsīy which the children respond to the anguish of a stressed world in disarray. Like the Val Lewton classic, Clément's film is a poignant and evocative taleĪbout a harsh world as viewed through the innocent eyes of children. Forbidden Games went on to win the Grand Prize at the 1952 Veniceįestival and was recognized as Best Foreign-Language Film at the American Mentor Jacques Tati saw the short film and recognized its true potential. Shot as a short film, it was later expanded into a feature film after Clément's One of Clément's most memorable films is Jeux interdits ( Forbidden Of detail and choice of stark subject matters. Of French directors who prospered between the poetic realism of pre-WWII FrenchĬinema and the revolution of the Nouvelleįilms generally reflect his documentary sensibilities, with their authenticity Clément would become a respected member of the intermediate generation Under such directors as Jacques Tati and Jean Cocteau. He eventually graduated into feature films following the war and mentorships Clément'sįilm career initially began in the 1930's with short documentaries, from which Particularly keen on the World War II milieu, and many of his best filmsĬonsequently were set during this period. French director René Clément, a former documentary filmmaker, was Brigitte Fossey, Georges Poujouly, Lucien Hubert, André Wasleyįeatures: Interviews, alternate opening and closing sequences, trailer, essayĬinema, following the end of the Second World War, seemed possessed of a morbidįascination with this unfortunate chapter in human history.