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Gaumont's 'Rays and Shadows,' directed by Xavier Giannoli, examines French collaboration with Nazis during World War II through the story of press baron Jean Luchaire and his daughter Corinne. Released on March 18, the film has attracted more than 640,000 viewers despite its three-hour, 15-minute length. It has prompted discussions in French media about its portrayal of historical events.
VarietyGaumont Television has produced 'Rays and Shadows,' a period drama directed by Xavier Giannoli that focuses on French collaboration with Nazi Germany during the German occupation in World War II. The film runs for three hours and 15 minutes and was released in French theaters on March 18. It has drawn more than 640,000 moviegoers, according to box office figures reported by Variety.
The story centers on Jean Luchaire, portrayed by Jean Dujardin, who was a press baron. Luchaire began as a pacifist militant in the 1930s and later became an influential collaborationist and propagandist during the occupation. After the war, he was sentenced to death.
Rather than a traditional biopic, the film explores moral compromises in French high society through Luchaire's rise and fall, as well as that of his daughter Corinne, played by Nastya Golubeva. Corinne was a young actress who entered Nazi circles and later lost her civic, political, and professional rights.
The film also depicts Luchaire's friendship with Otto Abetz, played by August Diehl, who served as the Reich ambassador in France starting in 1940.
Shadows' represents Gaumont's largest budget project since the COVID-19 pandemic, with costs in the range of $30 million.
The production includes detailed period props. Dujardin's performance has been noted in reviews for its prominence. The film adopts an immersive perspective, focusing closely on Luchaire and Corinne, including scenes of their physical distress.
It does not directly show antisemitic violence, deportations, or markers such as Jewish badges. ' The film includes depictions of brutality by Resistance fighters toward collaborators.
Since its release nearly three weeks ago, the film has received varied responses in French media, including newspapers, television, magazines, and social media.
Outlets such as Le Monde and Libération have published reviews and opinion pieces representing different viewpoints. Critic Luc Chessel of Libération described the film as a biopic about collaborators and accused it of relativizing historical events by blending empathy and condemnation.
“A disheartening biopic about the lives of scum and a masterclass in historical gaslighting.”
Historian Bénédicte Vergez-Chaignon, a World War II specialist, wrote an op-ed in Le Monde criticizing the film for historical inaccuracies. She argued that chronological adjustments in the film aim to generate sympathy for the protagonists. Among her points, she noted that a scene showing Luchaire's arrest by Resistance members is fabricated, as he and his daughter were actually arrested by American soldiers in Italy.
Vergez-Chaignon stated that the portrayal presents the Resistance in a negative light. The debates highlight ongoing discussions in France about the country's role during the Nazi occupation, a topic first addressed in Gaumont films with Louis Malle's 'Lacombe Lucien' in 1974.
This context underscores the film's place in French cinema's examination of collaboration. Future discussions may continue in media and academic circles, potentially influencing public understanding of the period.
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