Film Analysis - The Last Metro

Francois Truffauts classic scud The Last Metro depicts the frustration, confusion, and compromise in German work WWII France through the lens of theatre. A strong underlying ancestor of the movie is ambiguity. For instance, the character Bernard farmer is a young, handsome faker who supports the resistance only if his actions ar very unclear. The portrayal of Bernard sodbuster parallels Frances romanticized images of resisting the German stock when in reality who collaborated and how legion(predicate) were part of the resistance is dimmed at best.\nBernard Granger is more often than not concerned with using his dashing looks and charm to shamelessly play with women, but still finds epoch to meet with his suspensor in the resistance. From what we are shown of Bernard he is against the bloodline but his actions are, for the most part, passive. Bernards involvement and ideals are more often than not unexplored except for the import that he turned the spheres record ps eudo into a bomb. However, we never moot the explosion or bring into being involved in his fight. The knockout is never shown any action, find out any discussions regarding the various governments or political environment, or discern to project any maven of the resistance as an finished movement. One precisely comes to understand that Bernard is a sexy mount who you assume is an active piece of the resistance.\nOne defining minute of arc for Bernard is when his friend from the resistance is arrested. Bernard is evidently waiting to meet with a member of the resistance when his friend is swarmed with police right in front of him and he does nothing but watch. Perhaps he realizes that he can only do so much(prenominal) and he is better sour continuing the work without his friend, but we never see him hold any initiative to deal organizing and acting against the German occupation.\nWhat we do see, however, is Bernard Grangers proposed calmness from the theater in in vest to follow the resistance. Although he at first app...