«Un sac de billes», the new classic of French cinema

Cinema Wednesdays - Loris S. Musumeci

«You should know that everyone in this room is Jewish.»

August 1944: a Parisian alleyway triumphantly decked out with British and French flags. Hitler has fallen; we are free. We then jump back two years to 1942, as the Occupation begins. Mischievous children are playing in the city: Maurice (Batyste Fleurial) and Joseph (Dorian Le Clech) Joffo—two Jewish brothers. They head to their father Roman’s barbershop, where he is dignifiedly portrayed by Patrick Bruel. The atmosphere there is cheerful, so much so that the children feel free to tease two Nazi officers who have come to have their sideburns trimmed.

The next day, tragedy erupted. To the sound of the violin in Armand Amar’s original composition, the yellow star was sewn onto their coats. The situation is dire. Clignancourt turns into a «pogrom.» They must leave. The Joffo parents decide to send their sons to the unoccupied zone. The journey will be fraught with danger and persecution; the family is separated, but remains hopeful. Rightly or wrongly?

A bag of marbles, directed by Christian Duguay and based on the memoir of the same name, is already establishing itself as a classic of French cinema, just two weeks after its release. That, according to some critics, is the problem: “Too conventional,” they say. I would even add that the film doesn’t offer anything truly new, and that its sense of déjà vu is palpable from the very first scene.

Criticism, however, turns to praise when the result of a seemingly old-fashioned cinematic technique is nothing less than a resounding success. No camera movement or historical editing technique is new. And yet, what visual finesse, what a gripping and deeply moving narrative.

The play itself isn’t particularly remarkable either. We cry, we laugh; we get excited, we calm down; we’re paralyzed with fear, we breathe in courage. That’s enough. The children deliver impressive performances; Madame Anna Joffo (Elsa Zylberstein) exudes pride, and Patrick Bruel is excellent. Not to mention the special guest appearance by Kev Adams—in a role unlike anything we’ve seen from him before—and Christian Clavier’s gentle, subtle performance.

This tribute to the victims of the Holocaust resembles Life is beautiful by Benigni: both captivating and serene. With that in mind, here’s a wish for future viewers of’A bag of marbles : Let yourself be swept up in the adventure—without spilling any marbles, but shedding a few tears.

«It's better to take a hard hit than to lose your life because you're afraid of taking one.»

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Photo credit: Le Temps