New from Radiance Films is this 2K restoration of the 1962 French New Wave film Le Combat Dans L’ile (effectively The Fight on the Island). Directed by Alain Cavalier (in his debut feature, made when he was around thirty), and supervised by Louis Malle, it tells the story of couple Clement and Anne (Jean-Louis Trintignant and Romy Schneider). Living in Paris, Clement is secretly involved with the far-right terrorist group Organisation armée secrète. Anne is unaware of this until she finds a disassembled bazooka in their Paris apartment. Their marriage is far from happy, as Anne enjoys nightclubs and dancing, whilst Clement is a taciturn, over-serious presence.
Things come to a head when, egged on by fellow terrorist and mentor Serge (Pierre Asso), Clement uses the bazooka to destroy the apartment of socialist politician Terrasse (Maurice Garrel). This leads to the couple going to hide in an isolated watermill belonging to a childhood friend of Clement, Paul (Henri Serre) – ironically, a life-long socialist. In time, it is revealed that the politician had been forewarned of the assassination attempt and prompted to be clear of his apartment, and to replace himself with a mannequin.
Clement realises that he has been set-up by Serge, seeks permission from his group to hunt him down, and disappears off for months. In the time he is away, Anne falls in love with the kind and gentle Paul, and the uncomplicated life he is offering. When Clement returns to find this new situation, he challenges Paul to a duel on the island in the nearby lake. Will this leave Anne free to pursue her new life, or trap her with a wanted man she no longer loves?
Le Combat Dans L’ile is a fine example of early New Wave, with a rawness and immediacy that is typical of the genre, and fine performances elevating a reasonably basic plot. This is complemented by a good picture restoration, and a clean original French mono soundtrack. Clement is loyal to his cause in a way that damages his marriage, and a violent, passionate man cannot give the same passion to his wife, who needs to seek it from someone of greater stability – the opposite of what we are often given. It is certainly no hidden gem but is a decent entry for genre completists.
The first section of bonus features deals with Alain Cavalier. The first is a five-minute interview with him from September 1962 on French television, where he talks about the influence of current events on films in general. He describes working with the cast as a debut director. It is particularly notable for how young he looks as someone about to turn 31 years of age. It is short, but good to hear his voice and to have that voice talk about his characters.
‘France 1961’ is a short film made by Cavalier on the occasion of Zeitgeist’s DVD release of the film in 2010, and he would have been about 78 or79 at the time. This thirteen-minute feature is in standard definition and consists of him looking back on who he was when he made the film, and the hurdles he overcame (such as having to re-dub all dialogue due to the loud cameras on set). It is just Cavalier looking at photos from the shoot on a table in what is likely to be his home. It is jarring after hearing him so young only moments before, but it is a privilege to hear him take his time to talk about his memories.
Finally, ‘Playing Dead’. This is a commentary featurette by Cavalier on photos from the Cinémathèque française. This was made just after the previous feature, in 2011, and discusses the act of killing in his films. He notes that he has ‘killed’ 23 people in his films but given there is so much dead air in such a short running time, he adds little of substance to this, leaving it an odd curio.
Next, we move on to an interview with the film’s lead, star Jean-Louis Trintignant, from Belgian television in 1983. This focuses on the start of his career, his role in this film, and on his co-star, Romy Schneider. It runs to around seven minutes, and is fine for what it is, he is still a young man at this time, and speaks well enough on memories that remain reasonably fresh to him. 1962 certainly appears to be a watershed year for him, and the year that really built his confidence in his craft.
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‘The Succulence of Fruit’ is a 2020 interview with film critic Philippe Roger who analyses both the film and Cavalier’s work. Although not new, it stands out for feeling much more modern that our other features, and does feel created for this set (which, given COVID-19 delays etc, it could have been). Apart from being in French, this feels very like the talking head interviews that Eureka Entertainment are fond of for their sets. At 37 minutes, however, it is far more in-depth than the average example. He has a number of interesting stories about Cavalier and his influences, along with interesting observances on his aesthetics as a filmmaker. It is a little dry in places, but it rewards patience, as he really does go deep on the film at times.
Before we get to the usual photo gallery (which needs to be navigated manually but is nice enough) and trailer, (which does seem to be both from the time of release, and for the French market), we are treated to ‘Un américain‘, which is Cavalier’s first short film, from 1958. This is a seventeen-minute work, about a sculptor from New York, who comes to Paris to work on his art, but ends up with no money. To get by, he sells The New York Herald Tribune at night, to his compatriots. It is perfectly fine, feels very much a precursor to the coming New Wave, particularly in its slight documentary feel.
Rounding off the set, is an accompanying booklet (of which we did not get sight). This leaves us with a release that is slight in features, and really designed for completists only – either of the direct, the stars or the genre. Enjoyable enough, however.
Le Combat Dans L’ile is out on Blu-ray on 27th November from Radiance Films.
