Bertrand Tavernier is, arguably, the greatest living director of French films, and "Laissez-Passer" ("Safe Conduct") is his masterpiece. By recreating the working and personal lives of two actual French artists, screenwriter Jean Auranche and director Jean Devaivre, Tavernier provides a rich tapestry -- at once funny, tender, exciting, and moving -- of the French film industry during the darkest days of World War II. Although the studio for which Auranche and Devaivre worked was under Nazi patronage and control, almost every writer, director, and technician who made French comedies, dramas,and musicals tried to subvert Nazism by subtly incorporating themes of revolt and resistance into the films they made. Tavernier asserts this truth while he explores his heroes' real-life participation in the French underground: stealing German documents and passing these on to the Allies and finding jobs for creative, but indigent, friends. Moreover, the affection with which Auranche and Devaivre regarded the cinema talent of their days -- Pierre Fresnay, Raimu, Danielle Darrieux, Harry Baur, even the lightly satirized Fernandel -- is part of Tavernier's epic vision of the French film scene of its time. And he gives us invaluable insights into how brave people continued to work at their craft despite the poverty, hunger, and oppression they suffered daily. It's a pity that some of Tavernier's younger critics cannot appreciate either his concepts or his visually fluid and arresting style (for sheer cinematic beauty, he captures the squalor of everyday French life during the Resistance by alternating it with glowing sequences of the country's rural life). "Laissez-Passer" is faultlessly acted; seldom has such a large cast of players -- of all ages -- been in such beautiful synch with a director.

I know I must resist the temptation to comment other reviews, so I'll let the title of mine shows what lead me to react. This Tavernier's opus is one of his most achieved work. The French filmmaker (and historian and archivist of cinema) is doing a revision, for sure, and breaking some codes of the reigning (and ageing) French political correctness ; besides, it doesn't make his movie a rehabilitation of the "régime de Vichy", neither Tavernier a glorifyer of French fascism. The film is simply pointing some facts that have been seldom told about filmmaking during the German occupation of France (from June 1940 to summer 1944). Tavernier talks about passion for filmmaking and reluctance to work under German or fascist rules, about need to stay a professionnal and despair to be endangered by a war still going on and Gestapo of Milice sending their murderers even in the studios. Furthermore, Tavernier talks about the role and place of the Communist party (joining French resistance after June 41...),a place which is rarely evoked in its most unpleasant aspects, usually. Let's remember that Clouzot's "le Corbeau" was tagged a collaborationnist film, and subsequantly his author blacklisted for a year, only because HG Clouzot didn't support the Communist party linked "Comité d'épuration" in the end of 1944. This is also of what "laissez-passer" is dealling with. Of a very classic form, excellently acted, this movie has the considerable merit of revisiting a period which is remembered as well as one of the darkest in French political and social history, and paradoxically as one of the most brilliant in French cinema history. A last word on Tavernier's conceptions of social duties for an intellectual : most of his works are giving the point of view of people having to deal with real life and what they understand as their duty ; those people are shown in fictions (the policeman in "L 627", the best ever made movie on police work ; the teacher in "une semaine de vacances") or documentaries ("la guerre sans nom"). Tavernier give them a right to free speach which makes his movies sort of manifestos in defense of the Republic and democracy. For this too, he'll be remembered, as he'll be honoured for his positions (by political means or by filmmaking, as "double peine") to support immigrant workers.

Albeit a lengthy film, Laissez-passer (aka Safe Conduct) is indeed a beautiful film that significantly shows a crucial time and history of WWII. While most films that we watch dealing with war and battles happen between troops with artillery flying everywhere, there are not many that devote themselves to the unsung battles. Laissez-passer takes a chance and tells two detailed stories of men that were willing to give up their lives for not just their country, but also their own personal beliefs. In this film we follow two members of the French film community as they decide for themselves how they will help their country survive this terrible nightmare.

Outside of the opening sequence, there are little to no explosions in this film causing us to look beyond our normal images of war and see a more personal battle. The Germans were deeply rooted in their propaganda and used the French cinema to aid in their attempts to spread messages to all. Laissez-passer devotes its time to this film community's struggle to stay alive and fight for what they believe in. It is a heroic tale of personal endurance and passion. I am a huge film buff, and whenever possible I love learning more about other countries history of film. This film allowed me to see a war torn community pull together and keep a film dream alive. It is due to these persistent people that we can now enjoy French cinema today. Without them, it would have died during this era.

What made this film stand out above any other were the characters. While I felt that Aurenche could have been developed a bit stronger and given more to contribute to the film (outside of just being a ladies man),it was Devaivre that I couldn't keep my eyes off. His story was so strong and important that I found myself rooting for him at any possible chance. Jacques Gamblin gives his character so much passion and power that at times you believe him to be this almost a superhero of the war. The ability to cycle several hundred miles, the ability to fight a cold as well as be a revolutionist, and on top of that juggle a full time job as an Assistant Director of a studio completely controlled by the enemy. Wow. I was completely blown away with how Gamblin controlled this already complex character. While I think others would have delivered a very jumbled mess of a man, Gamblin instead dove deeper and delivered one of the best performances of 2002. His ability to remain calm in the face of terror as well as be 100% devoted to his country was outstanding. When you think of humans and their ability to muster the courage to continue, he is a prime example. Overall, these two characters did carry this film on their shoulders. They showed two elements of wartime in the film industry. One showed the fighter, while the other was the lover. An interesting take on the two types of heroes, I just wish Aurenche would have been given more screen time. I wanted to know more about his character.

Outside of the characters, you have a very strong story written by Jean Cosmos and Devaivre himself recollecting his story during this time. Adapting from his story allows us to feel more comfortable with the events and see them as truth instead of fiction. It allows us to see the struggles of the characters, instead of thinking that it is just Hollywood drama inserted into overwhelming events. I also enjoyed the fact that this was not a film riddled with explosions and the Rambo-esquire hero. The ability that director Bertrand Tavernier had to keep this film focused on the characters and the humanity of the situation was outstanding. He gave WWII a human feel from outside of the American perspective. He showed us what the world was like during this time while even showing some political satire of the lack of respect that the British had for the citizen soldier of France. Tavernier successfully gives the audience both a strong feeling of the war as well as a very insightful view of cinema in France during this time. I learned so much about what the French had to do for the Germans that it felt like a film history class. It was a refreshing and scary realization on a community that here in America we regard as indestructible. It only continued to show how war could hurt and infect even the most powerful of behemoths.

Overall, I was very impressed with this film. While there were some jagged moments with the characters (more development would have been nice),I felt that the overall message and themes came through crystal clear. Tavernier brought the horror of this era out and showed the world that France fought with just as much passion and dedication as the rest of those involved. It is a dark chapter in France's history that was beautifully told by Tavernier.

Grade: **** out of *****