One of my favorite childhood French films, which with great success was in the 70's in the Soviet box office. It's hard to say exactly what this film is about - about love, about war or about revenge. As it seems to me, this film from the category of stylish and very thin."In a conversation with a Frenchman, never touch upon the theme of the Second World War and, especially, the fascist occupation," - because we are taught by the French experts.It is known that almost every Frenchman lives with the awareness of his national exclusiveness. This feeling was brought up for many centuries. Therefore, to shoot a French movie about the events that are associated with the defeat and surrender without a fight of entire cities is a very delicate matter for the filmmaker.Probably, I will leave not far from the truth, if I assume that the French were waiting for such a film. They were waiting to again justify themselves (first of all, before themselves), once again skillfully revenge, and prove that even during the years of occupation they remained real Frenchmen - the cleverest, the strongest and able to truly love.On the other hand, the authors of the film needed to withstand a certain political correctness and, if possible, not to abuse the demonstration of the cruelty of the German invaders. The fact is that during the filming of the film, two-year talks ended in Europe, concluding with the signing in 1975 of the Final Helsinki Act (the birth of the OSCE). In fact, this meant a great European truce and the beginning of a new life together. And during the truce, it is known what happens to the eye of someone who remembers the old ...All this complicated the task of director Robert Enrico, but he masterfully operated with all the film tools, coped with it "perfectly", although in an ordinary French manner in a florid manner.One of the director's finds is the combination of flashbacks, that is, the memories of surgeon Julien about pre-war life, his acquaintance and love with Clara, and the real situation where the Nazis have already occupied his country, and the doctor's hands have to take up his gun. At the same time, transitions to flashbacks do not create an acute contrast, and the romantic soundtrack of the composer Francois de Rubé helps the protagonist to swim in the waves of his memory. These memories, as it were, zombie Julien so that his revenge is not troublesome, filled with confident and prudent actions. It is much more interesting to observe the revenge when it is performed by an ordinary person. It excites and makes the viewer to empathize.Another director's luck is the successful selection of actors. Philip Noiret and Romy Schneider seem to be created for each other, a great duo. Frames flashbacks are covered with a light haze and this only emphasizes the grace and beauty of Romy Schneider.In 1976, the film was awarded the CESAR award immediately by categories: Best film (Robert Enrico), Best actor (Philip Noiret), Best music (Francois De Rube) and more ... Thanks to the viewers of different countries.

For those who like the real France, this movie is a recommendation: it's not about Paris, fashion, artists or politicians but it's about provincial life, with old bricks, nature, simple life, historic furniture and lack of technology... I'm sure that today the locations are as old, as quiet as if time doesn't happen...The story is not that invented because my native land faced this same tragedy with the small town of Oradour: beastly, inhuman, bloody SS killed civilians, children, women, old people... I'm surprised to see that the tragedy comes so soon but for one time, all the flashbacks are pretty moving... The director is really inspired to involve the audience and honestly, Noiret has the part of his career while Romy is the usual shining / anxious wife...the DVD (without subtitles!!!) says that critics lament about the violence but it's another proof that those Parisian professionals have limited scope, skills and intelligence!!!

I just watched Le vieux fusil by Robert Enrico in 35mm at the cinema (unfortunately dubbed into German) and it was a hell of a strange film. Philippe Noiret is great in the lead role, though totally unbelievable. First he marries Romy Schneider, and then he kills a dozen trained German soldiers one after the other single-handedly. The whole film basically knows only one sombre mood, and doesn't really add any (melo)drama to what is happening. Incredibly, this film won a César for best French film of the year (what the heck!? - in a year where Zulawski's L'important c'est d'aimer was eligible!!!) and was nominated for numerous more. While it was an interesting and worthwhile film, I can't possibly see why this Rambo-type revenge story was considered so great/important at the time it was made. At least I might have become a Noiret-fan through this. The film is all about Noiret, and Romy is only there as eye-candy or to explain the emotional turmoil of the lead character. She has to play her usual „slutty" role of a person with bipolar disorder and I can't help but wonder why she regularly chose those similar roles. Despite being a great actress, Enrico really doesn't give her much to work with (he is clearly no Zulawski...) but maybe she was eager to do a more light-hearted role after her phenomenal (and deservingly) César-winning performance in L'important c'est d'aimer. I watched the edited version that was released to German theaters in the 70s and was missing at least the full scene of Romy's death. Will I watch more Enrico? Possibly. Am I intrigued? Yes. But is this really a remarkable film? I don't quite think so. Nevertheless very much worth seeing because of its utterly peculiar and bizarre vibe.

The story telling is utterly convincing, and because of the flashback technique, we feel the emotion of the main character (Julien) as the drama unfolds. The suspense is keen and mounting. The viewer keeps asking with increasing intensity: is this what I would do in Julien's position? His mistakes make us groan, his successes make us cheer. His pathos makes us cry.