As a seasoned film enthusiast who has spent countless hours immersed in the rich tapestry of war films, I must say that “The Last Front” is a compelling and engaging addition to this genre. The title may be misleading, but once you delve into its narrative, it becomes apparent that this film is anything but ordinary.
The title of “The Last Front” might be the only point causing perplexity. This story, set at the start of World War I, portrays the chaotic invasion of German troops in the Belgian countryside, serving as one battlefield amidst a prolonged conflict that lasted four more years. Apart from this, Julien Hayet-Kerknawi’s initial film is a robust and captivating drama with a vintage feel. Despite the creator’s intention to steer clear of the classic good vs evil narrative, the movie seems heavily influenced by the very moral dichotomies it aimed to avoid, reminiscent of the propaganda-laden productions from studios during both World Wars.
The dynamic of this story can occasionally veer towards the predictable or overly dramatic. However, “The Last Front,” now in limited release from Enigma, skillfully navigates these potential pitfalls. It effectively generates power through a classic confrontation between civilians under siege, led by Iain Glen’s initially resistant leader who is a farmer, and Joe Anderson as a particularly loathsome officer serving under the Kaiser. While it may not rank among the most exceptional period war films of late, its straightforward narrative, at times brutally raw, and solid production quality will certainly appeal to those seeking something beyond mere combat action.
The story opens in August 1914, as German soldiers, fresh off the declaration of war, stride through Flanders towards what they believe will be an effortless takeover of France. A town they pass by is unusually silent, with residents choosing to hide behind closed doors and shuttered windows rather than greet the invaders. However, a single gunshot echoes, claiming the life of a soldier. It’s later discovered that this shot was fired by a frightened local teenager acting independently. In response, Lieutenant Laurentz (Anderson) exacts brutal retribution by ransacking homes and executing anyone found there by firing squad, including women and children. This act of violence does not sit well with his superior (and father), Commander Maximilian (Philippe Brenninkmeyer), who arrives too late to halt the bloodshed.
In a nearby town, war hasn’t intruded yet. Instead, the main issue for two families is an illicit relationship between Adrien (James Downie) and Louise (Sasha Luss). Their fathers, Leonard Lambert (Glen), a widowed farmer, and Dr. Janssen (Koen De Bouw), a wealthy man, disapprove of this union due to deep-rooted class differences.
However, not long after, more pressing issues arise for everyone, as the Germans come to seize resources from the family farm. Harsh and sadistic Laurentz swiftly escalates a tense encounter into a deadly one. When word of this senseless brutality reaches the nearby village, its inhabitants are left in a dilemma, considering whether to escape, hide or retaliate. A baseless rumor labels Leonard as the leader of an underground resistance movement – compelled by circumstance, he eventually assumes that role.
Although it’s a bit jarring that the main characters appear quite British, with Adrien exclaiming “Oy!” when upset, the skilled performances and somewhat shallow character development are enough to overlook this. The fast-paced narrative of “The Last Front” generally avoids becoming an issue, slowing down slightly when the remaining protagonists run across the countryside, trying to reach France before their enemies catch up. This brief pause in tension is quickly resolved with a gripping action finale, featuring atmospheric nighttime visuals that beautifully showcase Xavier Van D’huynslager’s stunning cinematography.
In this production, we have angelically blond doomed lovers and a ruthless “dirty Hun” antagonist, which could easily slip into sentimental cliché. However, the screenplay by Hayet-Kerknawi and Kate Wood skillfully navigates around these pitfalls based on ideas from their 2015 short “A Broken Man.” Despite a moment of questionable logic where the stern Commander, despite his disapproval, doesn’t intervene when his rogue lieutenant-son is causing such widespread destruction, especially after being labeled as a “monster” by his father. Nevertheless, Anderson masterfully crafts an intense adversary, eliciting strong emotions from viewers, much like Erich von Stroheim did in WWI melodramas more than a century ago, earning the title “The Man You Love to Hate.”
Although it’s not a grand war epic, it has been thoughtfully crafted in every aspect, from design to technology. Frederik Van de Moortel offers an appropriate orchestral soundtrack that mirrors everything else in the film – a familiar yet effective echo – while also capturing the necessary tension and mood.
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2024-08-09 00:46