Tragedy and Tears Abound in Francois Ozon’s Post-WWI Drama ‘Frantz’

Sandra Miska

Two young people from enemy countries are brought to pick up the pieces following World War I in the French period drama “Frantz,” a remake of “Broken Lullaby,” a 1932 film by German-American director Ernst Lubitsch. The title refers to a young German man (Anton von Lucke) who was one of the millions who lost his life on the battlefield during the Great War. The story centers on Frantz’s bereaved fiancée, Anna (Paula Beer), who, having no family of her own, lives with his equally grief-stricken parents, Hans (Ernest Stozner) and Magda (Marie Gruber). Although Anna is a great source to comfort to Hans and Magda, they want to see her secure and happy and therefore don’t object when a middle-aged local man, Mr. Kreutz (Johann von Bulow) – presumably one of the most eligible bachelors in a town where most of the young man have died in battle – asks for her hand. She rejects him on the grounds that she is not yet over Frantz.

Enter a handsome young stranger, Adrien Rivoire (Pierre Niney). The mystery man more than piques Anna’s curiosity after she spots him leaving flowers on Frantz’s grave. She does some digging – but it is the stranger who takes the first step and shows up at the home office of Hans, a doctor, whose first reaction is to turn him away for being French, so strong is his animosity for anyone from the country he blames for his only son’s death. However, after discovering that Adrien was a close friend of Frantz, the family welcomes him into their home, each one of them becoming emotional as this charming foreigner regales them with stories of exploring Paris with their son/fiancé. However, the happiness Hans, Magda and Anna find in having this small piece of Frantz in their lives is marred by the tension his presence has caused with their neighbors and friends, who are offended that the family has welcomed a Frenchman into their home. Anna and Adrien also get to know each other on their own, but before they can get too cozy, he drops a major secret. The second half of the film deals with Anna getting to know the real Adrien for himself, not just as a stand-in for Frantz.

Filmmaker Francois Ozon keeps the viewer on their toes with his updated version of a classic story. Just when one thinks they have Adrien figured out, another twist is thrown in. The mostly black and white cinematography is also worth mentioning, with color only being used to amplify emotionally-charged moments. There’s also a powerful message about respect and the damages caused by extreme nationalism. The cast is superb, as Niney and Beer both shine – especially Beer, as the actress takes Anna from a sullen mourner to a woman with hope.

“Frantz” opens March 15 in New York and expands March 24.