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This Land is Mine (1943)
Tomatometer
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Reviews Counted:7
Fresh:5
Rotten:2
Average Rating:6.2/10
Synopsis: Renoir, pained by the contempt of Americans for the seeming ease of France's capitulation to the Nazis, hoped to mitigate their disdain with this portrait of life in an occupied country. The film... Renoir, pained by the contempt of Americans for the seeming ease of France's capitulation to the Nazis, hoped to mitigate their disdain with this portrait of life in an occupied country. The film stars Charles Laughton as Albert Maury, a timid middle-aged schoolteacher who is more afraid of the sound of bombs dropping than are his students. He follows every stricture of the Nazi authorities, insisting his students tear "subversive" pages out of their books. His distaste for the authorities is increased by his infatuation with another schoolteacher, Louise Martin (Maureen O'Hara), who happens to be engaged to Georges Lambert (George Sanders), a Vichyite leader who is gratified by the changes wrought by the Nazis. The Nazi commandant Major Erich von Keller (Walter Slezak) becomes impatient with the effectiveness of the Resistance in blowing up their supply trains, and decides to take a number of locals hostage, including Maury. Under pressure, Georges denounces Louise's brother Paul (Kent Martin), a member of the Resistance, and commits suicide. Maury, however, is charged with his murder. How will he respond? The patriotic flag-waver features a fine performance by Laughton. [More]
Starring: Charles Laughton, Maureen O'Hara, George Sanders, Walter Slezak
Starring: Charles Laughton, Maureen O'Hara, George Sanders, Walter Slezak, Kent Smith, Una O'Connor, Philip Merivale, Thurston Hall
Director: Jean Renoir
Director: Jean Renoir
Screenwriter: Dudley Nichols
Producer: Jean Renoir
Composer: Lothar Perl
Reviews for This Land is Mine
Fails to be as inspirational when viewed today as it probably was during its day.
Jean Renoir's 1943 film has its passionate defenders; the unfortunate thing, though, is that it needs them.
It moves along like a well-oiled machine until the devestating final act ties all of the smaller stories together, making it's point without being overbearing or obvious.
There is no black and white, no good or evil. There is only grey, and, in that grey area, an understanding of the frailty of human nature.
It should have been stronger drama than it is. But for the points it does make and its concept of man as a continuing vessel for freedom's fire, it is certainly well worth seeing. It comes close, even if doesn't quite hit the mark.
The best film of Renoir's wartime American exile is a moving tirade against Nazism that packs quite an emotional punch.
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