Word: camps
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Dates: during 1990-1999
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...Gore camp, Bradley's policies have "a Rip Van Winkle quality," in the words of an adviser. "It's like he somehow missed the last decade of political thought." Gore should be able to get up and say that the most effective antipoverty program in American history is the economy we've now got. Crime is down, welfare rolls are down, the budget is balanced, and child poverty is actually at its lowest level in 20 years. Do you really want to change tactics...
...This obvious attempt to inject class is not only a shadow of Renoir's leftist leanings, but it also serves to set the grounding for the film's climax. The '90s viewer is accustomed to images of war camps populated with emaciated prisoners living in horrible conditions. Thus, Renoir's attempt to convey a POW camp is incredibly dated...
...find Marechal, Boeldieu, Rosenthal (Marcel Dialio), a Jewish couturier, and Cartier (Julien Carette), a music hall performer comfortable in a beautiful German setting. When the camera pans, Tudor manors and a sweeping countryside grace the vista. Similarly, while the camp is a POW camp, the prisoners are fed, exercised and treated reasonably well...
...inmates' cheerful attitude is further bolstered with Rosenthal's delicious care packages sent from his home in France. This relatively happy image of prison camp is almost insulting to the memory of those who perished in the holocaust and other prison camps...
...biggest stretch for the postmodern viewer is Renoir's attempt to convey the necessity of escape from the prison camp. For a jaded moviegoer, life in the camps does not appear quite so horrible. The prisoners are isolated from the trenches and the continuous threat of death, are well fed and have each other's company...