Analysis of Role of Directors in French and Italian Films - Paper Example

It is very evident that in both French and Italian directors had very crucial roles in the production of any given film. Most producers were viewed as financiers or funders of a given film. That is the same view that is portrayed in Jean Renoir's The Great Illusion and Federico Fellinis La Strada. Jean Renoir's film had a very important role in inspiring the coming up of two other films namely "The Great Escape" and "Marseilles. Both films were `hits and captivating in nature since they were released at a time there were a lot of wars going on in the world. In Jean Renoir's film, the most striking scene is the whole plot where prisoners have to find a way of disposing of the excavated soil and dirt that was from the tunnel which was being dug for the escape. Prisoners had to formulate a dirt disposal method, and hence the coming up of hiding the dirt in the pants and disposing of it in the parade. Jean Renoir tries to portray that commoners are the owners of the post-war world in the scene where both the commandant and the German both die in the trenches.

Is your time best spent reading someone else’s essay? Get a 100% original essay FROM A CERTIFIED WRITER!

Order now

It was initially perceived that the world belonged to the upper class of the society hence the war was brought about by commoners who wanted to liberate themselves from the yolk of the upper class hence the war broke out. In the film, the escape by the French in the film portrays the notion that commoners wanted to liberate themselves from the yolk of the upper class who were the oppressors.

The director also tries to portray that it takes togetherness and brotherliness so as to get things done so long as the target is achieved. This is portrayed by the friendly nature of Boeldieu, Marechal and Rosenthal. It takes their friendship so as to ensure that Marechal and Rosenthal escape from prison through the distraction of the guards by Boeldieu. The illusion is also brought about by Rauffenstein in the film since according to him, escaping from Wintersborn prison was out of the question for any prisoner who harbored such thoughts. In the end, the sheer determination of Marechal and Rosenthal made them make the escape reality, of course through the help and assistance of their friend Boeldieu.

Boeldieu also creates an illusion in the form of a distraction to the guards so as to create a conducive environment for his friends to escape. The director of the film initially also tries to create an impression the idea of escaping from prison died more so after being transferred to another prison since the original plan was to use the dug tunnel. The transfer called for new inventive plans of escape for the prisoners.

On the other hand, Federico Fellinis La Strada film is about the different paths of various circus performers. The director of the film tries to portray the different paths Zampano, Matto and Gelsomina take so as to make it in the circus world. The title of the film also means The Road and hence the three main characters chart various paths while trying to be circus performers. Gelsomina tries to avoid being with Zampano but fate always brought them together despite the fact that she dislikes Zampano. Gelsomina is not so much into the circus, but her husband intimidates her to learn the ropes on how to be a circus entertainer through intimidation and partial coercion. Despite her rebellion and eventual departure from Zampano, the director redirects her way of life by being attracted to another street entertainer called Matto.

Zampano finds her with Matto and forcefully takes her back with him as if to insinuate that their life paths were meant to be together no matter what. Both Matto and Zampano find themselves on the same road' of joblessness after being fired by the traveling circus that they both worked for. It is also evident that the director portrays the notion that Gelsomina believes that her path and Zampano's were destined to be together since, despite the fact he mistreated her and was cruel towards her, she still went ahead to offer herself for marriage to Zampano, who in turn brushed her off. Zampano and Matto cross paths again when Zampano attacks Matto while repairing a flat tire and kills him while Gelsomina is watching in horror. In the final bits of the film, Zampano's memories cross path with the fondness that he had with Gelsomina when he overhears a certain lady singing one of her favorite tunes.

It is evident that both film-makers use various scenes to drive the theme, title and plot of the film home. That is critical so as to ensure that the film makes sense to the viewers and captures the attention of the viewers. Most producers are unable to direct films and give it the touch that is required of the films since their main role is to finance production in most cases. It is also evident that the films had a setting just around the major world wars when people were trying to recover from the ravages of war. The main contrast between the two films is that the film by Jean Renoir had an actual reflection and perspective of war compared to that of Federico Fellini.

Works Cited

Grand Illusion.Dir. Jean Renoir. Realisations d'Art Cinematographique.1937. Film

La Strada.Dir. Federico Fellini. Trans Lux Inc. 1954. Film

.