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Home > French > Extension Course > Prescribed text > Au revoir les enfants > Shots 439-464 > Sample questions for Au revoir les enfants shots 439-464

 

Au revoir les enfants shots 439–464

Part A

Question 1

Read the extract from Au revoir les enfants, shots 439–464 and answer the questions below in ENGLISH.

1. Explain the reaction of the soeur-infirmière in the scene of the infirmary. (3 marks)
   
   The sœur-infirmière firmly tells Julien to go away when he comes with Laviron’s bag, and she seems very stressed. It is soon revealed that Moreau and Negus have been through the infirmary in search of a suitable hiding place. When they reappear, she is irritated (Qu’est-ce que vous voulez encore?) and unwilling to aid them further. She uses rather coarse language (Mais fichez-moi la paix!), unbefitting of a nun and a sign of her loss of control. She becomes angry when Julien accuses her of betraying Negus to the German soldier (Foutez le camp!). Her reaction stems from fear. She no longer wants a part in the drama that is taking place for the Jews who have been protected by her religious order. Hers is a cowardly and uncharitable reaction in contrast with the bravery of Père Jean. It is completely out of character for someone who is meant to represent human compassion and remain stoic in the worse situations. Her true self is revealed in this extreme situation.
   
   
2. How does the language reinforce the mood of the scene? Refer to shots 435–450. (3 marks)
   
   The sense of alarm caused by the German soldiers' search is reflected in the short and direct utterances of the scene. There is no time to chat. Aggressive outbursts (Qu’est-ce que vous voulez encore? Fichez-moi la paix! Foutez le camp!) invoke panic, fear and loss of control by the religious nurse.
   
   The frequent use of the imperative mood underlines the sense of urgency (File! Viens, dépêche-toi! Mettez-lui une compresse, vite! Vous allez nous faire tous arrêter! Viens ici! Baisse ta culotte! Vite! C’est elle!). Moreau is desperately seeking a hiding place and, therefore, speaks quickly; the soldiers are in a hurry to find the escapees; Julien, under shock, is keen to point out the nun’s betrayal.
   
   
3. Joseph: Fais pas le curé. Tout ça c’est de votre faute!
   
   What does Joseph mean by this remark? How does this remark reveal a change in the relationship between Julien and Joseph? (3 marks)
   
   Joseph is telling Julien that he shouldn’t be moralistic (like a priest, a curé) about his new allegiance and justifies it as being the result of the black marketeering in which Julien himself participated. Had Joseph not been dismissed and made the scapegoat for the others, he may not have felt the need to curry favour with the Germans and tell them the secret. This is his form of revenge for the humiliation he has suffered. Now that Joseph has the support of the Germans, he is cocky and acts in a superior way towards Julien. Prior to these events it was Julien who had the upper hand over Joseph, thanks to his privileged background. The kitchen hand relied on the schoolboys for extra income but their complicity didn't go beyond the need to trade. In this scene, Joseph the opportunist no longer requires financial assistance, as indicated by his offering the boy a cigarette. However, he seeks to lessen his guilt by blaming Julien and the others for his actions, but the boy, who never had much regard for him, ignores him.
   
   
4. What techniques does the director use to convey the change in the relationship? (3 marks)
   
   Joseph is depicted as a treacherous character who seems to slide around the corner before approaching the Gestapo official and placing his hand in a casual manner on the German's shoulder. The viewer witnesses this new turn of events from behind Julien's back, which appears in the foreground of the frame. The composition of the shot thus allows the element of surprise to be experienced simultaneously by the audience and by Julien. The more formal clothes now worn by Joseph depict his new position: he looks almost like a member of the Gestapo. His newly gained power and the impact that his appearance has on Julien are emphasised by the camera panning onto the traitor as he comes closer to the boy, smoking casually. The language employed by Joseph reflects his sense of superiority. He is proud of his connections (C’est un ami.) and acts as though he is in charge (T’en fais pas...). When Julien, evidently disgusted, steps back, Joseph moves once again into the boy's space and attempts a new overture by taking him by the shoulder. Julien extricates himself and runs off manifesting his rejection of the relationship.
   
   
5. Joseph: C’est la guerre, mon vieux.
   
   Explain how this comment explores the issue of coping with change (3 marks)
   
   Joseph defends his position by implying that, in times of war, anything goes. To him, the rules that govern society in normal times no longer apply and new precepts are acceptable. In this film, the director, Louis Malle, examines how different people cope with wartime circumstances. For Joseph, it is an opportunity to improve his situation. Firstly, he delves into the black market trading to supplement his low wages as a kitchen hand. Later, like Judas, he is able to sell information to the enemy and, for a time at least, finds himself in a position of power. For Père Jean, the war is a door to the demonstration of Christian charity. He seizes the opportunity to show love and compassion by taking Jews under his roof, at the risk of losing his own life. For others, such as the religious nurse or Madame Quentin, the changes that are taking place are more difficult to accept. These women act almost blindly, as if refusing to admit that the status quo no longer exists. Madame Quentin seeks to pursue her bourgeois lifestyle (as seen by the way she dresses and her outings in expensive restaurants) while the nun refuses to cooperate in the hiding of the Jews lest her own life be jeopardised.

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