Further Links Contact Us Search Help

Syllabus | Exams | Resources | What's on? | What next? | Dictionary

French

Home > French > Extension Course > Prescribed text > Marius et Jeannette > Shots 203-223 > Sample questions for Marius et Jeannette shots 208-223

 

Marius et Jeannette shots 208–223

Part A

Question 1

Read the extract from Marius et Jeannette, shots 208–223 and answer the questions below in ENGLISH.

1. Eh non, tu vois Malek, je peux t'en parler si tu veux, mais moi je n'y crois pas, hein.
   What is Justin referring to in this quote? Why
   
   Although the audience does not witness the dialogue between the two characters prior to the start of this scene, it is possible to guess that Justin is referring to a question about religion posed by Malek. This is reinforced shortly afterwards by the revelation that Justin makes about not believing in any deity, whether it be God, Jehovah or Allah. "Mais je peux t'en parler" indicates that Justin is still open–minded enough to discuss the subject of religion. The juxtaposition of this scene, with the conversation Malek had with his mother about Ramadan in the previous scene, helps the viewer understand Malek's motives for seeking Justin's opinion on religious differences. The latter, a retired teacher, is, in the eyes of the young boy, likely to be more knowledgeable and rational than Jeannette, his emotional mother from whom he could not obtain a sensible answer.
   
   
2. How does the director portray Justin's relationship with the children?
   
   Justin has a very good rapport with the children who often seek his company or his advice throughout the film. This is portrayed in the various shot compositions where we see the caring old man surrounded by the children, sitting down to be at their level as in this scene. In shot 208, the other children are physically drawn to the conversation between Justin and Malek. This is partly due to the fact that Justin uses images to which they can relate (e.g. "Les Marseillais de l'Estaque, ça serait …les musulmans"), partly because they feel at ease with him (they giggle more than once during this short scene) and partly because, in contrast to their father Dédé, this adult is willing to pay attention to them and broaden their field of knowledge.
   
   The close relationship between Justin and the children is further enhanced by the similarity of the type and colours of clothing they wear.
   
   
3. Why is the courtyard chosen as the location for many scenes in this film? Discuss by referring to this scene and one other.
   
   Guédiguian has chosen the courtyard as a centre of communication where Jeannette's neighbours and friends mingle and reveal themselves. It represents a microcosm of the suburb of L'Estaque, through its different generations (from the children to the retired people) and their socio–political background (working class, communists).
   
   In this scene, the courtyard is first used to show that this is where the children come to play and talk and various activities are in progress at the start of the scene. However, Guédiguian uses the courtyard as a sort of family room, the neutral ground on which the occupants of three different households in this scene can be brought together naturally. The courtyard is drenched with the colours and sunshine of Provence and the atmosphere created, in spite of the peeling paint on the walls, is that of a warm, friendly place of gathering.
   
   By contrast, in the scene where Caroline depicts her wartime experiences, only a small, dark area of the courtyard is visible. The external piping added to the flaking paint on the wall behind the woman reflects the harsh environment of the concentration camp mentioned in her recount. Monique is shown carrying a pile of washing to infer that this intense monologue stemmed from an incidental courtyard conversation between the three neighbours in the scene.
   
   
4. Explain how this conversation relates to the issue of tolerance of difference in the film.
   
   Guédiguian uses Justin to explain that, in spite of our various credences (which he compares to living in different suburbs of Marseilles), we are all a part of the human race and not so distant from one another ("Ta mère et toi, vous n'êtes pas si éloignés que ça."). The conversation in this scene stresses that the gap between various religions (Justin names Muslims, Christians and Jews) is not so vast and implies that, deep down, men have similar aspirations and should be more tolerant of one another. This view is reinforced in other parts of the film as Guédiguian demonstrates that dreadful characters such as Mr Ebrard or Dédé also have a heart and can be gracious when removed from a negative context. Like Jeannette, we should, therefore, recognise people for who they truly are before making a judgement.
   
   The lunch scene at the cement factory further illustrates the film director's point by displaying the bond that is possible between people of different generations and of various political and intellectual antecedents.
   
   
5. What elements contribute to the sense of happiness in the ending of this scene?
   
   At the beginning of the scene, Justin's pleasant voice is heard while the camera pans slowly from left to right over the children playing peacefully. There is no tension. Once the conversation between Justin and Malek is engaged, the sense of happiness is created by the children's giggling as they play with the old man's words to make jokes ("Elle est juste là à côté, ma mère!"). We also note the shot composition, particularly towards the end of the scene, in which a circle is formed by Justin and the children sitting comfortably next to each other, thus emphasising the sense of well-being that is in the group. The gay notes of the farandole create a most convivial atmosphere as the scene is signed off with a closing iris effect that wraps up this blissful setting.

Back