I had just finished reading Vercors' novel when I heard about this film. I found Vercors' writing so perfect that I couldn't imagine any cinematic adaptation to be able to surpass it. But the film is such a wonderful surprise! It remains faithful to the novel where necessary and where it takes the liberty to change the story line, it does so with full justification and with a finesse that arguably exceeds that of Vercors' novel. Take for example the role of Bach's music. It plays only a subsidiary role in the novel, but in the film it has become the milestones in the development of the plot: Vercors has only briefly mentioned that the heroine plays the piano, whereas in the film, the first encounter between the hero and heroine takes place exactly when the heroine was playing Bach's Prelude No 1. Immediately this moment becomes emotionally charged.
Also the novel only mentions in passing that the German officer on a certain morning begins to play the piano, whereas in the film, he does so on the Christmas' Eve, where he and the French girl for the first time have the chance to be alone with each other. The German officer's performance becomes thus a powerful declaration of love.
Not to mention the strongest scene of the film: the moment the French girl plays Bach's Prelude No 2 in order to save the German officer's life. This scene is entirely the invention of the filmmaker!
There are many more subtleties to be discovered in this film. The filmmaker has attended to the smallest detail, even the barely audible background conversations in the original German language. Everything carries a meaning and contributes to the dramatic tension in this film. It's particularly enjoyable to study the various forms and perspectives from which the filmmaker sets the figures on the scene: whether as a real person or as a mere shadow on the door or as a mirror-image...
It's a great story rendered in great form. And this makes it not only an entertaining film, but a real work of art.
Also the novel only mentions in passing that the German officer on a certain morning begins to play the piano, whereas in the film, he does so on the Christmas' Eve, where he and the French girl for the first time have the chance to be alone with each other. The German officer's performance becomes thus a powerful declaration of love.
Not to mention the strongest scene of the film: the moment the French girl plays Bach's Prelude No 2 in order to save the German officer's life. This scene is entirely the invention of the filmmaker!
There are many more subtleties to be discovered in this film. The filmmaker has attended to the smallest detail, even the barely audible background conversations in the original German language. Everything carries a meaning and contributes to the dramatic tension in this film. It's particularly enjoyable to study the various forms and perspectives from which the filmmaker sets the figures on the scene: whether as a real person or as a mere shadow on the door or as a mirror-image...
It's a great story rendered in great form. And this makes it not only an entertaining film, but a real work of art.