LOT OF LOTTERY – The fresco dedicated to General de Gaulle was projected in theaters on Wednesday June 3. The morning impressions, leaving the Pathé Parnasse, turn out to be positive despite “a few lengths”.
A projection which “brings a new look at the Second World War,” notes one of the first Parisians to have seenThe Battle of Gaulle . Le Figaro was present for the earliest screening in France, at the Pathé Parnasse (XIVe borough). The spectators questioned believe, throughout the two hours and forty hours of Antonin Baudry’s film, to have (re)discovered new facets of a giant of the 20th century.e century.
Carried by its 70 million euros budget, the story shows “another vision of history”observes Marc, a regular at Pathé Parnasse, in his dashing fifties. To hear him say, the future first president of the Ve Republic had not had, until now, a “also authentic portrait”, cable to present it in its grandeur as well as in its flaws, “a visionary who knew how to carry the Resistance at arm’s length”. “The film shows to what extent this man was ridiculed and had to fight to succeed in asserting his position and that of Free France.”finally resumes the film buff.
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In this first part (the second comes out on July 3), director Antonin Baudry also takes the viewer to the battlefields, notably to Bir Hakeim in the Libyan desert. A theater of operations too rarely shown on screen. The sequel takes place in London, where Free France will be born. The feature film is revealed “Good morning”with “Excellent actors”, note despite everything, Marc. Simon Abkarian, in charge. He assumes “with dignity the trajectory of this alone man”Marc finally concludes.
“We rediscover the tenacity, even the obstinacy, of a personality who did not allow himself to be trodden on,” notes Jean-Charles with admiration and nostalgia. For him, this fresco “Reminds us that nothing is inevitable.” He also points to a newer vision of the historiography of the 39-45 War: “For once, the view of history is neither British nor Americanized but very French”.
However, the sixty-year-old, like other of these early morning spectators, points out “a few lengths”. But not enough to discourage them from returning to the theater at the beginning of July, where the second part of this gesture takes place. Even if they already know the end.
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