User reviews

This finely crafted movie takes us convincingly back to the France of some 100 years ago. Against the setting of a small provincial town, it shows how its prominent citizens mix up with the officers of the local cavalry regiment. Citizenry is represented here by the excellent female star Michèle Morgan, the military equally well by actor Gérard Philipe. The magnificent interaction between the two of them makes this movie going: Morgan, playing a divorced Parisienne running a ladies' fashion shop, has herself seduced at last by officer Philipe's tireless efforts. But at that very moment their relationship takes a turn for the worse.

Their tragedy gets more dimension, and is softened at the same time by the succesful development of another love. A young local girl (Brigitte Bardot) finds her cavalry officer, played by Yves Robert. The sincere human warmth between them contrasts with the stiff etiquette in the Morgan/Philipe-affair.

'Les grandes manoeuvres' (= the big army-excercises) is a very well made movie. I only think it a little too mechanical, as director René Clair forces you to watch it with hardly any emotions. Not even Brigitte Bardot is able to change that.

One shouldn't be dissuaded from seeing this film because of one disappointed viewer. It is a charming and beautifully crafted film, not often seen in the U.S., but well worth watching. It is very Gallic in its attitudes, which means that it has a certain amount of gallantry, chauvinism, sexism, and a plain, old-fashioned outlook on the sports of love, but it refuses to be pinned down to a formula, or to have a pat ending. I find it ever so much better than Clair's earlier work, and if you can shift your mental gears to the French way of thinking, it is a very rewarding, bittersweet film.

I admit, I was not very big in this film for the most part of it. But hey, is very good from a visual standpoint. We have very unexpected angles and a weird set of lights. Look at how messy the lights are in this film. It helps even more to put focus in the characters. In fact, it alone put a focus in the characters, because they become darken than the set's natural light. And the plot is kinda ugh, you know what I mean? Very cliché. Sure, back in 1955, this kind of 'Guy wants to date girl because of bet with friend" must have been interesting and very original, but nowadays? Not very much, if you ask me. Maybe this is the film that started all these clichés? Well, I don't know, further research is welcomed. But anyway, the editing, the transition of scenes is very crazy, and certainly a very good technique aesthetically talking. This technique alone can change completely the film's ambient.

Is kinda interesting and even funny at times, but yeah, for the most part there is nothing that you already haven't seen before made much better than in this film.

Melodrama. A painting that came across by chance to the author of this review, but which, despite its age, looks good even now. It should be noted right away that this is far from a masterpiece for all time, but as a good melodrama about the "Belle Epoque" it will definitely go. And here's a brief opinion - A very high-quality French melodrama of the mid-fifties. It was not possible to find any flaws in the painting, so it is necessary to describe its advantages. Therefore, a brief introduction should be completed.

So, here they are: 1. Scenario - in the "Beautiful Era" in France, a regiment of dragoons was stationed in the province, and among them the young lieutenant Armand de la Verne stood out very much, who could easily turn the head of any lady, which he actively used, sometimes getting into trouble. And so, the gentlemen and officers of the regiment, during another drinking session, decided to make a bet. What is its essence - Armand must, in the allotted time (until the regiment has gone on major maneuvers), turn the head of a woman whose name he learns only in a lottery, so that everything is not so easy for him. Fate has pointed to Mademoiselle Marie, a Parisian woman who has recently received a divorce, who is being looked after by Victor Duverrier. Armand, as agreed, proceeds to seduce. And it is Marie who will awaken in Armand what he did not know before - love, and make him feel what happens to those who are abandoned and how their soul hurts. All this is seasoned with funny little situations, other romances between officers and beautiful ladies from a provincial town. The dialogues are pleasing because they convey the spirit of that time very well. And although the script lacks stars from the sky, it is interesting to follow it.

2. Aesthetics - The "Beautiful Era", the provincial city of France, the French uniforms of that time, the well-known free behavior of the military of those years, girls' dresses, dancing, small talk. All this is perfectly reproduced and perfectly conveys the spirit of that time. Please forgive us for repeating it, but it's true. The eye is already happy. The author of this review did not notice any errors or blunders, and if there are any, then you are welcome to comment on what exactly you think was done wrong.

3. Romance - pleasant conversations, accidentally dropped phrases, conversations about feelings, secret break-ins into lovers' homes, persistent harassment, quarrels, apologies. All this will be in the picture, and it's also nice to look at. This has not been done for a very long time, all courtship has descended into banality. I think that's why this painting was so popular with Soviet viewers, because all of the above echoes the works of Russian classical literature.

4. The ending - we need to clarify right away, because the author of this review watched the restored version with a less tragic ending (there is another, more tragic one), so I will evaluate it. It is both vital and very revealing. The author of this review was sure of a happy ending to this story, but that was not the case. The scriptwriters surprised by teaching Armand and everyone like him a lesson.

A little bit about the main characters: 1. Lieutenant Armand de la Verne, played by Gerard Philippe, is a rake and a buffoon who easily wins women's hearts, who takes on a new "victim", but gradually realizes that now everything will not be as simple as before. The hero of Gerard Philip is shown as a kind of "Lieutenant Rzhevsky" who has no faith. He is also boastful and ambitious, until someone who is able to break him gets in his way. Nevertheless, we will see two Armans in the picture, and this transformation will be perfectly demonstrated. Bravo!

2. Victor Duverrier, played by Jean Quesaya, is a decent gentleman who looks after Mademoiselle Marie, who recently arrived from Paris and helps her adapt to her new place. The exact opposite of Armand, and when the latter begins to actively pursue Marie, she enters into a struggle with him and tries in every possible way to protect her from the lieutenant's encroachments. Jean did a great job with the role. Bravo!

3. Marie Louise Revier, played by Michelle Morgan, is a Parisian woman who came to the provinces after a divorce in order to take a break from the capital's society and restore her reputation. He behaves rather secretively, but after Armand's persistent courtship, he takes a liking to him. Michelle is just a beauty, who at the same time behaves extremely gracefully and modestly, and in the sincerity of whose feelings you believe, without a doubt. Bravo!

The painting is about a bygone time that cannot be returned, but it has been carefully reconstructed here, and now we have the opportunity to look at it. Yes, the moral character of the officers here is not the most pleasant, but do not forget about the ending - it is moralizing, so the picture is definitely worthy of your attention.

Rating 7 out of 10 and recommended for viewing!

I'd seen only the great films from the 30's by this director, before enjoying this first color film from 1955. It is a light work with some sombre undertones from the military setting: we are after all in the summer of 1914, and the gallant young officers will soon be facing the terrors of the Great War. Clair reminds us that this world has vanished into the mists of time by the careful use of pastels--lavender, gray, pink--and by the camera receding into the distance: you hardly ever see a close up, most shots are long or medium. Leon Barsacq did a wonderful job as production designer; this is one of the best designed films I can remember seeing from this period.

Gerard Philipe is the best Armand you could wish for--he's brave and skilled as a soldier and incredibly immature as a man. The idea that you can carry on affairs with five women at a time is no more than a logistical problem for him. Michele Morgan plays her part so well; she's got to be mature and responsible (she's a divorcée, and hasn't been long in this town). Her heart is pulling her in a direction her mind doesn't want to go. Jean Desailly reminds me once again that he's one of the finest French actors: his Victor isn't a stuffy bourgeois, his heart is with Marie-Louise and he knows what a formidable opponent Armand is. Also he's got to combat the closed minds around him, notably his sisters.

Les Grandes manoevres can be compared to Rules of the Game, and if the Renoir classic is greater, it's because Renoir was dealing with more profound themes. I was engrossed in the story of this garrison town just the same.

This is one of the most finely crafted films of cinema's short history. Period atmosphere, costumes, sets, indoor and outdoor photography, pacing and editing are all superb. The music by Georges Van Parys is poignantly nostalgic and at the same time entertaining and light. The biggest attraction of this film, though, is the wit of its script, which could rival any comedy of Shaw or Wilde or Colette, and top them all for sheer virtuosity in the art of depicting the many faces of love, and its delivery by one of film history's most finely cast troupe of comedians. `Les Grandes Manoeuvres' is ostensibly a Gérard Philipe vehicle, full of his inimitable monologues, which lets Michèle Morgan do what she does best: suffer coldly, remotely, nobly, silently and elegantly. It is peopled by actors the likes of which this planet has rarely seen brought together, namely Jacqueline Maillan and Lise Delamare as Jean Desailly's wicked, two-faced, possessive sisters who marry the feline elegance of beasts of prey with the evil but colourful personality of Walt Disney's Cinderella's wicked stepmother. It features some of the most beautiful women of the planet: Morgan, Bardot, Dany Carrel, Magali Noël. The men are also physically and mentally highly idealized. This film is rarely shown and therefore largely unappreciated. It is only available on DVD in a pristine transfer in French only on a Brigitte Bardot boxset from Quebec (imavision.com) comprising seven films of various worth ranging from this unqualified masterpiece to more lowly efforts to Fellini-Malle-Vadim's `Histoires extraordinaires'. This film is so good it is probably worth learning French to understand all its subtleties and absorb its unique charm. It makes all of René Clair's preceding efforts, even the most poetically imaginative like `Beauties of the Night', look like immature doodles or preliminary sketches.

A womanizing soldier (circa WWI) makes a wager with his fellow soldiers that he will be able to seduce any woman chosen at random. The woman is chosen, he goes for it. You can probably guess most of the rest: he falls in love with her unexpectedly, she finds out about the wager, there is a question of whether they will ever truly get together, yada yada yada. Yes, it's that old plot. Perhaps Clair invented it, but I doubt it. It would later be used in every fourth movie ever made in the 1980s. I hoped that Clair could make it work. My favorite films of his are so effortlessly romantic that I expected him to be able to do it. Alas, he can't. This film lacks everything that made films like Le million charming and romantic. This one is cold and dull. I didn't like either of the leads. The man was completely despicable and the woman was frigid. Scenes move too quickly, and there is no feeling in them. The only bright spots are some nice cinematography (it was Clair's first film in color, and it looks as if the whole thing has been painted with watercolors) and a nice little supporting role by the enormously darling young Brigitte Bardot. 5/10.

Ironic indeed that one who was once considered a 'pioneer' should come to be regarded as 'old-fashioned'. Craftsmanship is timeless of course so let us salute and applaud that of Rene Clair. The undeniable elegance of this film is inclined to rob it of its depth and makes the comic element more effective than the tragic but that is a minor criticism. There are after all so many things to enjoy: the sumptuous colour, splendid settings, gorgeous costumes and enchanting performers the likes of whom are gone forever alas. Michele Morgan is beautifully understated whilst the inimitable charm of Gerard Philippe succeeds in making his 'cad' sympathetic. Jean Desailly makes the most of a thankless part and hard to believe that a year later Bardot would be strutting her stuff in the risible 'And God created Woman'. A captivating film from one whose creative talent has added sparkle to our rather lacklustre world. Merci bien Monsieur Clair.

A French army regiment, resplendent in colorful uniform, is quartered in a French provincial town for summer exercises. As this detachment first enters the town marching in order down its main thoroughfare, a beautiful woman (Michele Morgan) appears on the balcony of her fashion shop and catches the eye of the regiment's dashing and handsome Lothario who has already compiled a notorious string of conquests (Gerard Philipe). This gives rise to a bet by his fellow soldiers with him, when the soldiers reach their barracks, that this time he will not be able to seduce this woman. He launches a spirited campaign for her, designed to sweep her off her feet, but becomes so ensnared in her charms that he completely loses his mind and falls genuinely and madly in love with her, forgetting totally about the bet and wanting only her. The high point of his fortunes is reached when, practically on bended knee, he protests to her that he does not love her for only a few days or a few weeks but for his whole life. She is on the point of yielding to his entreaties when she learns of the bet. The denouement is exquisite torture as she is unable to credit his protestations any longer notwithstanding that she passionately desires to, he is in effect impaled to his hurt on the thorns of his past, she ends by returning to the fat husband with greasy ringlets of curls from whom she'd been divorced and who appears totally unworthy of her, and the regiment marches out of town at the end of summer. There are comic interludes of great charm and even some hilarity, as well as all the brilliance and wit that make a French movie a French movie, but all in all this is a sentimentalist's dream of a production in which the adorable loveliness of Michele Morgan is at its dazzling height.

There are many ways to see this film: the story of a bet, a womanizer ( or Don Juan as we call them usually in Europe) has made a bet, to seduce a woman, but the thing seems more complicated : the divorced woman is very intelligent,she doesn't take seriously this handsome cavalry lieutenant and Armand becomes confused. "Les grandes manoeuvres" is also a description of the "Belle Époque" , men and women looking for love, the pleasure of the good dressing, eating, drinking and dancing. On the other side we have the description of the careless high society of a provincial some years before the world war one: marriage, dancing, tombola, military parade, concert in public garden and a lot of gossips , and as part of this pleasures a secret bet between civilian and army officers. I think that René Clair wanted to show both aspects: a love story in which a seducer becomes seduced and a totally careless high society before a great war in which thousend of soldiers will die in the trenches of Verdun for example. The performances of Gérard Philipe and Michèle Morgan are really very good.

or, more precise, charming. for its delicate elegance , for the presence of Michele Morgan, Gerard Philippe and Brigitte Bardot, for the French spirit of a so old period and for impeccable performances. and, in same measure, for a form of... magic. because it is a simple story about appearances, love and seduction, about charm and bets, about an innocent age of Europe before the WW I. and this transforms the film of Rene Clair not only in a seductive work but in support for reflection about art and illusion and the work of remarkable actors."The Grand Maneuver" is a classic. but the motifs of this status are many and fragile. like a letter from a lost world. so, see it !