"Goodbye children" is to director Louis Malle what "The Pianist" has been to Roman Polanski. These are movies that dealt with intimate matters related to painful childhood experiences, both taking place in occupied Europe during WW2. In both cases, it is palpable that they were movies that these directors had planned to make for a long time, but they waited until they had achieved a considerable degree of recognition at the end of their careers, so that they would feel self assured enough to carry their project out.
"Goodbye children" evolves around two essential guidelines : the first one is the historical background of France during WW2. The second one is about childhood friendship and loss.
There are quite a lot of movies that were set in France during WW2, but the matter of collaboration of the French with the Germans was still a sensitive subject in 1987. A decade before, Louis Malle had made a film called "Lacombe Lucien", portraying a young French peasant entering the Gestapo as a way of social promotion, and it caused quite a controversy. Things had quietened a bit though, when "Goodbye children" came out, and most of the people who had lived through the period as children seemed to be pleasantly reminded of childhood memories, as the boarding school and its characters appears to be a very good reflection of reality.
Ugly as it has been, collaboration was nothing else as a survival policy. In war time and or/dictatorship, people rarely afford to have moral dilemmas, and this is well shown in the movie as a thriving black market goes on among children at the boarding school. The character of Joseph, an illiterate limping cook, is the one who gets blamed when the black market scandal breaks out, and loses his job. He is also the one who is going to sell out everybody, by revenge. He betrays because he feels betrayed. When one has seen "Lacombe Lucien", it impossible not to make a link between the two characters.
"Goodbye children" is also a very good study of the division among French people at the time. When an old Jewish man is arrested at the restaurant by the French "milice" (political police under the Vichy regime), there is as much applause as protest. What comes as a surprise is the positive role played by the church, impersonated here by Father Jean, who is in fact a resistant hiding Jewish children and holds provocative sermons during mass. There definitely existed such priests, and it is all the more surprising to get that portrayal from a left-wing director like Louis Malle.
The plot evolves around two very different young boys. One, Julien, comes from a typical French upper-class family, he is both gifted and spoiled. The other, Jean, is the typical Jewish boy, brilliant but secretive. Of course, no one among the college boys knows that Jewish kids are hiding there under false identities. Julien is at first both irritated and intrigued by this odd rival, but as they confront, they gradually become implicit allies. Their bonding is well illustrated by a few scenes, for example when they get lost together in the woods, or when they play piano during a bomb alert.
As it can be expected from twelve year old boys, they only scantly express an attachment which becomes all the more real. The very fact that a film about child friendship is done by a director who is past fifty is a revealer of its very importance in a whole lifetime. Julien only realizes the price of it when Jean is arrested by the Gestapo, and waves discreetly as he walks out the college door, never to be seen again. The final shot of Julien's disarrayed face, which appears chillingly mature for the first time, is a very powerful one. But well, Louis Malle was not an amateur.
"Goodbye children" is also a major film about loss, and it gets all the more effective in doing so that it ends abruptly, leaving you with a feeling of irreversibility. You never quite know how long you are going to know someone, how long you still will be there, you are rarely quite aware when you see someone for the last time. It is only when people are gone forever that you can realize how meaningful they were to you.
If you are studying French or interested in French culture, this is really a movie which, as a Frenchman myself, I would recommend because it is both excellent, accessible and representative. Unsurprisingly, it received several Cesars, including the one of the best film of the year (Cesars are our French equivalent of Oscars).
"Goodbye children" evolves around two essential guidelines : the first one is the historical background of France during WW2. The second one is about childhood friendship and loss.
There are quite a lot of movies that were set in France during WW2, but the matter of collaboration of the French with the Germans was still a sensitive subject in 1987. A decade before, Louis Malle had made a film called "Lacombe Lucien", portraying a young French peasant entering the Gestapo as a way of social promotion, and it caused quite a controversy. Things had quietened a bit though, when "Goodbye children" came out, and most of the people who had lived through the period as children seemed to be pleasantly reminded of childhood memories, as the boarding school and its characters appears to be a very good reflection of reality.
Ugly as it has been, collaboration was nothing else as a survival policy. In war time and or/dictatorship, people rarely afford to have moral dilemmas, and this is well shown in the movie as a thriving black market goes on among children at the boarding school. The character of Joseph, an illiterate limping cook, is the one who gets blamed when the black market scandal breaks out, and loses his job. He is also the one who is going to sell out everybody, by revenge. He betrays because he feels betrayed. When one has seen "Lacombe Lucien", it impossible not to make a link between the two characters.
"Goodbye children" is also a very good study of the division among French people at the time. When an old Jewish man is arrested at the restaurant by the French "milice" (political police under the Vichy regime), there is as much applause as protest. What comes as a surprise is the positive role played by the church, impersonated here by Father Jean, who is in fact a resistant hiding Jewish children and holds provocative sermons during mass. There definitely existed such priests, and it is all the more surprising to get that portrayal from a left-wing director like Louis Malle.
The plot evolves around two very different young boys. One, Julien, comes from a typical French upper-class family, he is both gifted and spoiled. The other, Jean, is the typical Jewish boy, brilliant but secretive. Of course, no one among the college boys knows that Jewish kids are hiding there under false identities. Julien is at first both irritated and intrigued by this odd rival, but as they confront, they gradually become implicit allies. Their bonding is well illustrated by a few scenes, for example when they get lost together in the woods, or when they play piano during a bomb alert.
As it can be expected from twelve year old boys, they only scantly express an attachment which becomes all the more real. The very fact that a film about child friendship is done by a director who is past fifty is a revealer of its very importance in a whole lifetime. Julien only realizes the price of it when Jean is arrested by the Gestapo, and waves discreetly as he walks out the college door, never to be seen again. The final shot of Julien's disarrayed face, which appears chillingly mature for the first time, is a very powerful one. But well, Louis Malle was not an amateur.
"Goodbye children" is also a major film about loss, and it gets all the more effective in doing so that it ends abruptly, leaving you with a feeling of irreversibility. You never quite know how long you are going to know someone, how long you still will be there, you are rarely quite aware when you see someone for the last time. It is only when people are gone forever that you can realize how meaningful they were to you.
If you are studying French or interested in French culture, this is really a movie which, as a Frenchman myself, I would recommend because it is both excellent, accessible and representative. Unsurprisingly, it received several Cesars, including the one of the best film of the year (Cesars are our French equivalent of Oscars).