Michael Neumann Director Bertrand Tavernier dares to show the true futility of warfare and the hypocrisy behind every call to arms by revealing how the so-called Great War (like every other war before or since) didn't end with an armistice, except of course for the dead. Phillipe Noiret stars as a military statistician assigned to account for the missing and identify the deceased; his expertise is sought by two women, strangers to each other but linked by a terrible secret.Noiret's character is that rarest of silver screen creatures, a middle-aged hero, and of truly heroic (but no less lifelike) proportions: competent and compassionate while at the same time flawed and uncertain. Over the course of his investigation he discovers firsthand the legacy of state-approved wholesale slaughter, and learns that after four years of bloody trench warfare some graves are best left unturned. With delicate insight and strong but subtle irony the film succeeds in putting a human face on the true victims of any war: not just the dead and disabled, but the civilians caught in the crossfire.

jotix100 It is four years after the end of WWI and there are still bodies that are being found. The grim reality of gathering the mutilated remains of the soldiers that gave their lives in that conflict, is at the center of the story. Two women, Irene, an upper class Parisian, and Alice, a teacher, are looking desperately for a husband and a fiancé, both unaccounted for.The head of the MIA section of the French army, Major Delaplane, has seen enough horrors during his tour of duty. One thing comes clear, he is a man of integrity that is not interested in the politics that want to make a glorious example for the country trying to capitalize on the valor of the fallen men. Delaplane's superiors are more interested in bringing an unidentified soldier to be buried under the Arch of Triumph in Paris. He will stand for all men fallen in the different wars France has entered.At first, the bureaucratic Delaplane and the aristocrat Irene clash because he feels she wants to exert her class and connections in order to find the husband she wants to find. On the other hand, he is more sympathetic toward the poor Alice, a humble woman without pretensions. Through a twist of destiny, Irene and Alice, who bond in unexpected fashion, are closer than they know by the missing man.Bernard Tavernier is a director that always brings integrity to any project in which he presents on the screen. In this film, which he co-wrote with Jean Cosmos, an aspect of the war is looked at from a different perspective that is not dealt in many other anti-war films. In subtle ways Mr. Tavernier shows the viewer a side that most of us will never have to face. His Delaplane is a man that has seen horrors as he goes to the sites of recent battles to identify the dead, while his superiors are more interested in another aspect of the conflict that does not take into consideration the suffering the war causes on all the surviving members of the dead men.Any film with Philippe Noiret is worth taking a look. Mr. Noiret in his distinguished career humanized the characters he was asked to bring to life, as he does with his Deplane. The late actor shows an integrity in his Major Deplane that shows his affinity to the material. Sabine Azema, gives a nuanced performance as the rich Irene. Pascale Vignal is also effective as Alice. The vast supporting cast does excellent work for Mr. Tavernier.

MartinHafer I was fascinated by this film--probably because I am a history teacher and teach about WWI (among other topics). But I wonder if most other people would really care about the plot. You see, it's about the aftermath of WWI and the setting concerns soldiers sifting through the French countryside trying to find and identify all the bodies. The officer in charge is a bit fixated on all this and into his obsessive little world come two ladies who are looking for a husband and a fiancé who have been missing since 1917. The attention to details in the film is interesting and there are many little touches that make it a must see for history lovers. However, I must also point out that for me, the relationships that develop and unfold during the movie don't always work all that well. Plus, another recent French film dealing with the same topic (A VERY LONG ENGAGEMENT) is a vastly superior film. It would be great if you could see them both, but if you only want to see one film, see A VERY LONG ENGAGEMENT--it's better in most every way.

zetes Philippe Noiret plays a military bureaucrat who is meticulously trying to catalogue the casualties of WWI. He and two women cross paths during the excavation of a train that was buried in a tunnel by German explosives. This would make for a great existential movie, but it's all talk talk talk. The dialogue is endless, and, with the long running time, the whole picture seems that way, too. The film would be much more powerful if it demonstrated its themes more visually. Instead, the emotions come off as somewhat flatter than they deserve to be. The production is also poor; it feels like it was made for television. And the musical score is so weak it takes the film down a peg itself. It's still worth watching, but I think it really could have been a lot better.