Although a modest success at the box office in 1969 when the film was released in France, presumably the end of the de Gaulle era and changing sentiment about the war, it gathered insufficient interest for international distribution. Certainly, with recent highly successful re-releases of films from this memorable period (Rififi, Classe tous risques, Touchez pas au grisbi) one might argue that this is in fact perfect timing to finally widely distribute Army of Shadows to an audience hungry for better fare from the current norm. Rialto Pictures is releasing beautifully restored prints with a new translation.

The subdued color that permeates the cinematography of Pierre Lhomme, in cool icy blues, extract a near black and white palette. In darkened rooms, prison cells, and shadowy meeting places, Melville constructs an intensely suspenseful atmosphere. The cast of A-list players, led by Lino Ventura in the role of resistance leader Philippe Gerbier, goes from one situation wrought with peril to another: escapes from the Gestapo, rescue missions, lonely hideouts. The sound of German soldiers in rhythmic menacing march on the Champs-Elysees make a powerful statement in the opening scene. Reminiscent of The Battle of Algiers in granting the viewer the sensation of actually being placed in tense and terrifying situations, Melville uses this immediacy in a similar way in his gangster films.

Watchful and bold without being reckless, Kessel’s characters emerge as ordinary people who are called upon to courageously walk into situations and perform acts they are not sure they can pull off amidst constant uncertainty. Given the episodic structure of the events selectively lifted from the novel, it is all the more amazing that Melville sustains an extraordinary level of tension throughout, a testament to his sense of cinematic suspense, a tight screenplay and remarkable, controlled performances. Signoret relied during filming on a real life Mathilde, Maud Begon, who quietly applied the demeanor and disguises she takes on.

Although Army of Shadows stands on its own as both a superb thriller and an unsentimental record of the period, understanding Melville’s involvement in the war adds depth to the experience of the film. He leaves certain things unexplained including the ambiguous ending, just as the real people for whom these characters are a composite might have been unsure about the allegiance of their compatriots. The son of a Jewish Parisian family, Melville died in 1973 and the long overdue American debut of one of his finest films makes one look forward to the hope of uncovering more overlooked or forgotten gems from past masters.