Review of “The officer and the spy”: The truth about Dreyfus and the post-truth about Polanski

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Wonderfully filmed, narrated and interpreted (also by the actors, but referred here to the way in which Polanski himself translates what he has of allegory, of “chuche” rechupeteada by him and for his comfort), “The officer and the spy” is cinema of the great

Oti Rodríguez Marchante

 
In this case (not in the movie, but in writing about it), we must prevent a couple of details that are not trivial: the original title of the film is “J’acusse”, which was also the headline of the famous article by Émile Zola in which he denounced the conspiracy against Dreyfus and brought him to trial, and the fact that the director of this film is Roman Polanski, whose eternal «case» makes him, in a way, a protagonist reverberated and speculated about the story told … Something that naturally denies.

The narrative that Polanski addresses with enormous precision, intrigue and detail has the well-known Dreyfus case in the background, and he does it from the perspective of the investigation undertaken by Colonel George Picquart, head of the French counterintelligence service; and it also does it with an extreme wisdom of the possibilities offered by the purest elements of classical cinema, combined with a rigorous but also ductile and interested reading of historical facts and their adaptation to the current spirit, where such liquid concepts operate as the of “post-truth” …

Wonderfully filmed, narrated and interpreted (also by the actors, but referred here to the way in which Polanski himself translates what he has of allegory, of “chuche” rechupeteada by him and for his comfort), “The officer and the spy” is cinema of the great, that transmits with detail the transparent and the opaque of its plot lines and its intertwined measures, that provokes feelings and that calculates the weights and measures of each of the genres that are used, the drama, the suspense, the judicial and even the romantic. Also the weights and measures of the characters and their relationships, because it leaves Alfred Dreyfus’s in the background, turns into that of George Picquart, and instead gets the relationship between them, very brief, has an explosive intensity in the essential of history And Jean Dujardin and Louis Garrel know how to capture the sublime in their demand. The sentimental relationship with the character of Emmanuelle Seigner does not reach that degree of inner rapport, which more seems there an obligatory ingredient in “chez” Polanski. But otherwise, what a good and interesting movie. .

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