The story takes place in 1977 in West Germany. A road accident that claims the lives of a woman and her child attracts the attention of a morgue employee, a man with high standards of professionalism and who is well regarded by his general manager.
This employee is Monsieur Martin, a former soldier who once fought in the Second World War and for whom the word “responsibility” weighs heavily in his existence as an older man. He conducts his own investigation, and naturally upsets people in high positions who have decided to look the other way to preserve their reputations.
Such a theme will always be relevant, as it affects not only German society but all nations across the planet, where individuals who have the most to lose in a given situation choose to disregard their obligations, despite the injustices.
The graphic novel “L’expert” is very well done. I like the drawings, the scenario, the choice of colours, the period and the location where the story takes place. The Germans must certainly have appreciated its publication in 2022.
The graphic novel “Un tournage en enfer – Au coeur d’Apocalypse Now”.
The graphic novel “Un tournage en enfer: au cœur d’Apocalypse Now” takes us right to the heart of the creation of Francis Ford Coppola‘s famous film, brought to the screen in 1979. As the director points out, [my translation] “[…] we were in the jungle. There were too many of us. We had access to too much money and too much material, and little by little, we all went crazy…”.
It didn’t start well. Right from the start, the director was unable to convince well-known actors to get involved in his film. In turn, actors such as Jack Nicholson, Al Pacino, Robert Redford and James Caan refused to join the adventure. Coppola continues his research and interviews.
As readers, we go behind the scenes of the production and hear from those close to the filmmaker. Filming begins in the jungle of the Philippines, even though Coppola has no idea on how the film will end. This would haunt him throughout the production, causing him sleepless nights when he was already quite exhausted.
A page from the graphic novel “Tournage en enfer – Apocalypse Now”.
Cost overruns followed, and the pressure on the director from financial backers increased. He was asked to complete his film as quickly as possible, which he proved unable to do. Coppola came to guarantee the required funds by pledging to pay off the debt himself if box-office receipts failed to reach $40 million.
In addition, it was taken for granted that the U.S. government would provide the helicopter gunships required for the film’s action. But in the aftermath of the Vietnam War, the interest of American politicians in such requests waned. The director had to turn to the then President of the Philippines, Ferdinand Marcos, to obtain helicopters and personnel, in return for certain fees and compensation. But these aircraft sometimes left the scene on Marcos’s orders to go hunting for the regime’s enemies. Coppola was falling behind again…
A page from the graphic novel “Tournage en enfer – Apocalypse Now”.
They thought that Harvey Keitel would be the ideal actor to play Robert Duvall. Many sequences later, the obvious becomes clear: the man just didn’t cut it for a number of reasons. On the verge of disaster, they urgently contacted Martin Sheen and beg him to replace Keitel. Multiple scenes had to be reshot with the new actor, and the delays and associated costs continued to mount.
All sorts of other pitfalls awaited the director and his crew throughout the shoot, including the language barrier with the Filipinos and a storm that destroyed the set. The widespread use of drugs and alcohol by staff and helicopter pilots didn’t help matters either.
The mosquitoes, the heat and Coppola’s constant demands took their toll on the actors. Martin Sheen fell seriously ill, and his brother had to be used for some of the secondary scenes. Rather than use only actors to simulate deaths, a staff member went to the morgue and returned with a corpse. This prompted the arrival of the police force, and the problem was solved with generous sums of money.
There were many other factors that delayed the end of the shoot and increased costs. Marlon Brando’s demands were a case in point. They managed to get him back on set for an extra day, provided that he received $70,000 more than planned.
Shooting finally ended in 1977. The team chartered a private plane to fly 381 kilometers of original film to the United States. Editing the film proved to be an ordeal. There was too much material to analyze. In 2001, Coppola presented a modified version of his original 1979 production. In 2019, he finally delivered a final 182-minute version, Apocalype Now “Final cut” , more than forty years after the initial release.
Earnings met the director’s expectations, and he ultimately won his bet. In all, the film generated $140 million from a total budget of $30 million.
Both Sorj Chalandon, in his novel “Enfant de salaud”, and Régis Jauffret in “Papa” try to grasp the enigmatic personality of their father. Sorj Chalandon’s father is said to have been a Resistance fighter and a traitor at the same time, while Régis Jauffret’s father is said to have been filmed coming out of a Gestapo interrogation session, terror on his face. Where does the truth lie? Who are these fathers really?
In a previous text, I presented the book “Enfant de salaud”. Now it’s the turn of the novel “Papa” by Régis Jauffret.
As one might expect with Régis Jauffret, the writing style differs radically. The author is the winner of the Goncourt short story prize (2018) for his novel “Microfictions 2018”. His sense of synthesis, black humour and even cynicism makes this return to the father’s past a literary as well as historical adventure. The reader quickly understands that the author takes pleasure in presenting his discoveries. He even adds a bit of fiction when necessary.
True to my habit when it comes to Régis Jauffret, I will present his book through selected quotes. Indeed, the interest of the book lies as much in the content as in the way Régis expresses himself to enlighten his subject. Here are a few quotes (translated as best as possible) that may help to grasp the tone of the book:
“I took communion.
Someone pointed out to me on the way out that I wasn’t a believer.
– That’s right, a wafer or chips.
I smiled, but after this blasphemy I was not very happy. When you have been educated religiously, you always keep the terror of God in the back of your mind”.
“He had just had a stroke which, far from handicapping him, seemed to have cheered him up”.
“She told me that the moisture had blown away the veneer [of the coffin]. All that was left was a box of blackened boards. I wasn’t in a good enough mood to call the funeral home lady to invoke the eternal guarantee that such metaphysical products undoubtedly enjoy”.
“One of those happy memories that make you feel good that you never went to a gun shop to buy something to shoot yourself in the head”.
“Alfred was instructed to clench his teeth during coitus without sighing, while she remained as stoic as when the dentist teased one of her molars with the tip of his drill without anesthesia”.
“Through the vast copper bell of a gramophone perched on a pedestal whose statue had been stolen, Édith Piaf shouted ‘J’ai dansé avec l’amour’ (I danced with love) while the cries of the martyrs rose from the basement”.
“Writing about oneself is a form of incontinence”.
“We are condescending to deaf people without status or talent, but we prefer to deal with them sparingly. When you haven’t seen them soon enough to have hidden behind a construction machine or a bulky man, you greet them from afar as you walk away”.
“If I had not seen these images, you would have remained in the sewers of my memory”.
“If I last as long as Madeleine, I will be a centenarian who will unexpectedly ruminate on his father in his dried-up brain like a currant while an orderly built like a colossus swings my emaciated body in the air to change my diaper”.
“Pitiful descendant of protozoa that have become multicellular beings with brains, humanity has no reason to show off”.
“It is heroic in times of war to assume the role of the executioner, even if it means being wrong sometimes, because in extreme situations doubt never benefits the accused”.
“He talked from morning to night. Anyone he met on the street was showered with language like a careless person on a pier on a stormy day by a surge of water. In his office, everyone was soaked. So much so that people ran away from him, but he always managed to find someone who was kind enough to let himself be flooded”.
“I never heard him talk about his day either. The weather had been fine, it had snowed, it had rained, a chamois had crossed the trail in a tail, a man hit by a storm had burst into flames, a lady had fallen into a crevasse while singing a cantata by Johann Sebastian Bach”.
“During this time, Jean-Jacques and Honoré undertook the sisters red as blue meat to find themselves in the presence of two boys whose pants in the fashion of the time moulded the genital apparatus of which they dreaded in advance the sting”.
“Enfant de salaud” means “Bastard’s child” in English. Author Sorj Chalandon is a journalist and worked for decades for the French newspapers Liberation and Canard Enchaîné. During his career, he received numerous awards: Albert-Londres (1988), Médicis (2006), Grand Prix de l’Académie française (2011), Goncourt des lycéens (2013) and most recently Goncourt 2021 des lecteurs de 20 Minutes.
“Enfant de salaud” is the true story of the author who tries to shed light on his father’s extremely nebulous past during World War II, in the German-occupied France.
Having had access to official archives, he gradually discovers that his father went through the war by enlisting in five armies, which he all deserted. He served the enemy in every way, but always made sure that the few things he was doing for Francewere listed somewhere in case of an investigation after the war.
The head of the Sûreté nationale de Lille who questioned the father after the war said of him: “This individual is a liar endowed with an astonishing imagination. He must be considered very dangerous and treated as such.”
Between the reflections and the discoveries of the son on the past and the psychology of the father, the reader participates in parallel to the trial of Klaus Barbie , psychopath and great war criminal, who died in prison in France in 1991. Passages of the book are blood curdling, although we know what to expect when it comes to Nazis, SS and members of the Gestapo.
When the survivor Isaac Lathermann takes the stand during the Barbie trial, he announces: “[in the concentration camps], at breast height, there was no more bark on the trees, everything had been eaten. No more grass either. Eaten too.” (p. 238)
The reader discovers the resistant Lise Lesèvre who, even tortured by Klaus Barbie for days, doesn’t give up a single name: a phenomenal example of courage and patriotism.
“Enfant de salaud” is the author’s decades-long inner journey. The fact that he relates a real-life story further reinforces the intensity of the narrative.
Even though World War II is over and the armistice was signed in 1945, four Japanese soldiers continue to hide on Lubang Island in the Philippines, awaiting official orders from their superior to surrender. They have been forgotten there in the jungle and continue to survive as best they can, dodging the patrols that have gone looking for them to tell them the war is over. They continue to accumulate information on the island for the intelligence services, hoping to be useful when a possible Japanese landing takes place that will drive the Americans out of the island. Years pass and there will be only one Japanese soldier left, Hiro Onada, who will finally surrender in 1974, thirty years later!
The bookis a lesson in survival in a hostile environment. The discipline and resourcefulness that are required to survive and ensure their safety is extremely impressive. Onada, even as he gradually sank into an alternate reality, shows a remarkable tenacity.
Here is a passage that shows the reality of the jungle. I translated it as best as I could: “[…] There are also a lot of bees on the island. Huge swarms fly in the bushy areas at the foot of the mountains. I saw some that were thirty meters wide and a hundred long, flying here and there with unpredictable changes of direction. If we encountered one of these swarms, the only thing to do was to go back to the woods or, if we did not have time, to cover our heads with the canvas of our tent or our clothes and lie down on the ground. If we made the slightest move, they would attack. We had to breathe as gently as possible, until the swarm had passed. “(P.216)
In 1957, bombardments in the neighborhood reassured them that the war continued. But these were military exercises by the Philippine Air Force, not an American attack.
Onada et Qanon
As the years pass, there will be countless opportunities for those soldiers to realize that the war is over. They even had access, for a while, to a radio. It did not matter: whatever was read, heard or discovered by chance was, according to them, only the fruit of disinformation from the enemy.
On reading this real life story, it is possible to make a connection between Onada’s testimony and a follower of Qanon: both cannot accept defeat and believe in an almost divine mission. As Onada himself put it so well: “At that time, Kozuka and I had developed so many fixed ideas that we were unable to understand everything that differed from them. If something did not fit our vision, we interpreted it to give it the meaning we wanted “(p.192).
When a person is gradually made to believe in an alternate reality and decides to cling to it for their mental or physical health, or both, the same conclusion remains: regardless of the evidence, the rhetoric or the new realities that will be presented, that person will continue to persist with his line of thinking. It will take some dramatic event in his life for him to decide to change course and come back to a more objective reality.
Have a good read!
Click on the link for more books on war in my blog.
