User reviews

This is one of my most favorite movies of all time.

What makes this film so good? It is basically about this one universal truth, as said succinctly and poignantly by Bertrand, the wife of Martin Guerre: "As a woman, I have needs." Societies and civilisations that ignore this fact are the worse off for it.

Good acting, historical, and based on real events - these are some of the other positive aspects of the film.

This isn't a comment on the actual quality of the movie itself, but rather a response to the number of postings which have suggested this movie is not an original concept.

I have some shocking news for you, but there really was a Martin Guerre. His court case in the mid-16th century is well documented in primary sources and this movie attempts to retell this story.

In 1983, historian Natalie Zemon Davis, who incidentally was originally involved with the film as an historical consultant, wrote a well received micro-history on the court case and it's outcome. (The Return of Martin Guerre - published by Harvard University Press, 1983)

This case was thought of as unusual even during the 16th century. So much so, that it became part of French folklore. Earlier Hollywood movies likely tapped into this folklore, when they penned similar stories.

So this film, rather than simply being another in a long line of similar movies, is the first to tackle the "original story". That being said, the movie is not perfect and strays from the facts a great deal. Natalie Zemon Davis, herself, states in her introduction to her book that she was troubled by the film's creative license with history.

Nevertheless, I recommend anyone to see this film yourself and make up your own mind. Better yet, read the book!

I always enjoy watching French movies, and this one's no exception. In my opinion, this is a very beautiful movie. I love the romance, and the great performances enhance it to the maximum effect. This drama is very well made that you feel emotionally helpless on the mercy of the director. You get involved up to the point that you expect (want) things to work out like you want them to be but you really can't predict what's going to happen next.

The film tells about a true 16th century story about a man Martin Guerre who comes back to his village and family after an eight-years leave to a war. Everybody's really happy that he's come back that nobody questions the changes or differences after that long eight years; until someday a vagabond says that he's not Martin Guerre. The villagers start to think the possibility that he may not be the man he claims to be.

For me the film is about our judgment, our perception, our interpretation, our motive. It's about adding a human value to the rules, ethics, customs, and law that hold our society together. Sometimes what's right is wrong and what's wrong is right. In other words, sometimes we're looking for a 'humane' solution. You'll understand what I mean after you watch this movie.

The casting is wonderful, especially the casting of Nathalie Baye as Martin's wife. Something in her eyes perfectly reflects her character's sad life. She's beautiful. I imagine it's going to be very hard not to sympathize with her. Just watch this movie. I hope you'll be touched and enjoy it as much as I did.

This is the true story of a peasant in 16th century France who left his home village for almost a decade without saying a word to anyone, even his long suffering wife. When he comes home he's different; he's better. He's sweeter, more helpful, he smiles, hell - he laughs. Martin was never so good. Then comes the day a couple of drifters hit the village. They claim to know Martin but by a different name. That was the first chink in the armor. Things become so uncertain that he is finally put on trial to ascertain who this guy is. This is a loving microhistory intimately telling the story of life on a southern French farm after the wars of religion. It is superbly directed and acted, especially by the two leads, Gérard Depardieu and Nathalie Baye.

One of my favorite movies, even if the ending is a heartbreaker. Every Depardieu fan should have a copy - in French, not dubbed. You can't help but like the returning Martin, as played by Depardieu. His talent at facial expression is wonderful. The courtroom scene is his best - check out the look he gives the wife as she steps forward to select the correct Martin.

During the 80's, French filmmakers were encouraged by the Mitterand government, especially its Minister of Culture, Jack Lang, to make period pieces. Movies about the history of France, its landscape, and the character of its people. This happened because the French cinema had to face stiff competition from foreign films. Gone were the days when a few French films could dominate the box-office. Now, they had to face the American film industry, already strong in the previous decades, and international productions.

In a sense, Lang's move succeeded. Indeed, such films were not only successful, but also of considerable quality, a prime example of that being Claude Berri's "Jean de Florette" (1986). Moviegoers were interested in learning about the past, at least a dramatised version of it. And one couldn't find a better film showing exactly that than "Le retour de Martin Guerre".

Based on the true story of a man who pretended to be the titular hero and fooled a small French village in the middle of the sixteenth century, the movie describes his antics, from his arrival to the village, to his trial for deceit after an accusation of an alleged relative of his. This premise leaves lots of space for an interesting portrayal of life in the early Renaissance and the beliefs of the people at the time.

At first, the stranger (Gérard Depardieu) is treated with love and respect. Having fought in the Hundred Years War and thought dead, his return (if he truly is Martin Guerre) is an event of utmost importance for the small-town residents of the village. In the Renaissance, as is the case now in some communities, men, especially those with families, Martin being the father of a boy, were considered the most important members of the society. So, not only has a long-lost person returned, but also a capable member of the community has come to contribute again.

In the nineteenth century, there was the famous case of Phineas Gage, a construction worker who was wounded in the head by a rod passing through it as a result of an explosion. His behaviour changed dramatically after this accident, and he was transformed, from a kind-hearted man, to one who was irritable and spiteful. One could compare the stranger's behaviour with Phineas Gage's case. The real Guerre was said to be a rude, cold man, who showed no love to his wife. Yet, the person claiming to be him behaves the opposite way. So loving is he to the woman, Bertrande (Nathalie Baye), that she falls for him and tries to protect him during the trial. What could've brought such change to someone's character? War, perhaps, since the man is a veteran of the Battle of Quentin (1556). In an age when science is almost nonexistent such excuses were easily believed. There was no psychologist to confirm the truth of the man's statements. There was only the Church.

The Church was back then the ultimate authority on every matter. Next to the king, they controlled every aspect of the ordinary people's lives. It is indicative that one of the most important witnesses to the trial of the presumed imposter was a priest (André Chaumeau) who, with his passionate speech, easily swayed the judges to a certain direction. If the man was found guilty, the Church would have to condemn not only him, but also Bertrande, since she would have committed adultery, a crime punishable even by death, in such a close-minded society.

Bertrande was one of many examples of women that were back then accused for crimes of minor, if any, importance. Interpreted masterfully by Baye, she is presented as a vulnerable being, whose human need for love is deemed unacceptable by her community. That Baye could play such different characters as the prostitute Nicole in "La Balance", and Bertrande in "Le retour de Martin Guerre" in the same year just goes to show her undeniable talent. In a sense, they are both people of the same kind; regarded as outcasts by the society due to their social class and sex, they have almost no rights and resort to questionable activities to satisfy their needs, be it personal or financial. Being both the victims of the authorities, they survive by caring only for themselves, something that will put their relationships, with men of dubious moral standings, in trouble.

As for Depardieu, this film was one in which he showed his serious side as an actor, personifying Guerre with an emotional intensity necessary for the role of such a fickle man. He is, essentially, trapped in his own lies, and his effort to untangle this web of lies he has himself constructed proves difficult, and is the primary theme of the film.

Not only were the performances excellent, but also the settings and costumes served the purpose of the movie. Functioning as the visual qualities complementary to the actors' interpretations, they transformed the viewers to this faraway time and proved stunning in their detail.

Interesting is to note that the music score, composed by Michel Portal, won the César award for best film soundtrack when faced with such competition as Vladimir Cosma's "La Boum 2" and Michel Colombier's "Une chambre en ville". To me, this showed the intention of the César Academy to honour scores that might not have had commercial character, but were commendable cinema-wise. Unfortunately, I regard this as a backward decision. In a time when the only movies keeping French cinema alive were commercial films, - "La Boum 2", after all, was more successful than "Le retour de Martin Guerre" - the Academy wished to award a film score that, while high-quality, showed no commercial value, and thus had no relation to the interests of the public. The state of award shows, which are now mostly estranged from reality and the commercial world, was perpetuated by such decisions. We have to decide whether we want these institutions to be a celebration of cinema in general or of modern cinema. Has the soundtrack "La Boum 2" proven to be more timeless than that of "Le retour de Martin Guerre" ? I truly don't know. But the viewers of the time had chosen, what music they preferred for their films, and the authorities ignored them.

Considering all that, what remains of "Le retour de Martin Guerre" is an ambitious film with impeccable costumes and props, of which the performances elevated it to a higher level, with an intriguing topic that may also serve as an examination of early Renaissance society and its beliefs. A film that was met with success when released, despite its uncommercial nature, being part of a more intellectual type of films, with their messages hidden behind the costumes. Still, only the combination of the two could make "Le retour de Martin Guerre" a good movie. It was a big budget film, but one à la française. I think this explains it all.

Brings to life intriguing and complex drama from middle ages. Brilliant acting, musical score (original instruments--well-researched), and costumes. Possibly one of the best Gerard Deperdieu films.

An intriguing premise, fitting music, and a solid performance by Nathalie Baye make this okay viewing overall, but it is terribly overlong, since the premise just does not have enough in it to last for a two-hour length. The situations and various issues that arise are interesting at first, but it all becomes a bit repetitive, drawn out and monotonous as the film progresses. This was a breakthrough piece for Gérard Depardieu, who does quite a good job, and the film was Academy Award nominated for its apt costumes too. It is quite competently made, and certainly quite watchable, despite somewhat awkward narration and thrills and excitement that are only intermittent. I cannot help but feel however that as a short film the material would have worked better. Either way, it is still worth a look.

Daniel Vigne described his film as a modern story that took place in 16th century.Le Retour de Martin Guerre is a wonderful historic romance that pertinently comments on an individual's role in society.The film is a beautiful illustration of 16th century pastoral life. Pancette had the nerve to assume Martin's identity as Bertrande constantly assisted him in deceit.His greed was responsible for his ruin as he claimed wealth which never belonged to him.A vast majority of viewers will not be in a position to form an opinion about Bertrande as she did not wish to spend her life with an impotent village resident.The entire storyline hinges heavily on Gerard Depardieu's captivating performance.His imposing aura makes us readily accept him as the real Martin Guerre even though,in reality,he is Martin's lookalike Pancette.Le Retour de Martin Guerre will fascinate not only the admirers of suspense genre but also those spectators who are attracted to drama.Daniel Vigne has effectively crafted a thought-provoking oeuvre which competently wrestles with major issues like identity and deception.

A man suffering from amnesia coming back from war to be confronted with a wife and child...Well we've seen this before and long ago...To be precise in 1938 ,when Curtis Bernardt -who continued his career in America afterward- directed his "carrefour" starring the excellent Charles Vanel and Jules Berry.Here the director -very academic- substituted the Middle Ages for WW1 and presto!an original screenplay! Actually ,and even the scenarists will never confess it it's "carrefour" remade as "Martin Guerre" remade as "Sommersby" .

Best part comes from Nathalie Baye,who portrays a woman who could belong to the Middle Ages as well as to our own era .Bernard-Pierre Donnadieu would have outstripped Depardieu, had the script given him the chance to shine.

Since I posted my comments,an user wrote that both "carrefour" and "Martin Guerre" came from an incident from the sixteenth century.Perhaps so ,but in my native France,nobody said a single word about that."Carrefour" was based on a John Kafka novel (not to be mistaken for THE Kafka),and as for "Martin", famous scenarist Carrière -who wrote for Luis Bunuel - and director Vigne took all the credits.Jean Tulard,the most erudite historian of the French cinema does not hint at the American novel of Janet Lewis in his "dictionnaire des films".I must add that in France "MG" is not looked upon as the great film it is in America.It's actually a return to the swashbuckler genre that was thriving in the 1955-1965 years in France,a bit more realist perhaps ,to gain the highbrows audience ,but not necessarily better.

The real writer was actually Jean de Coras ,conseiller au parlement de Toulouse,whom you can see in the film (Roger Planchon) and who reported the story.

This definitive version of the story of Martin Guerre (remade in English with Richard Gere and Jodie Foster as 'Sommersby'; and musicalised in a misguided version by Boublil and Schoenberg) is amongst French actor Gérard Depardieu's greatest roles. As the bluff, romantic, sensitive soldier who returns to the village after years away (or does he?) he manages to provoke all sorts of reactions from his other on-screen characters as well as the film's audience.

As Bernadette de Rols, the wife seeking love and companionship, Nathalie Baye is superb; while a large and talented cast give flesh to the remaining characters. I defy anyone to see this adaptation and not be moved by it; try and see in the cinema, where it undoubtedly has more power than on a small screen; and avoid the version dubbed into English. 'Le Retour de Martin Guerre' need to survive with its language and poetry intact.

Le Retour de Martin Guerre is a brilliantly made film. Daniel Vigne crafts the plot - which is based on a true story - with great skill, fooling us in a fascinating manner. Gerard Depardieu is his usual flexible self. It is a captivating examination of love and the law. A great film to rent when you're tired of going to see the filth that is in theaters today.

I can't find an attribution, but I think it was Mae West that said: . . . a hard man is good to find . . . Certainly that is the attitude of Nathalie Baye's Bertrande de Rols. The story begins in 1542, not the middle ages as stated, but the age of the Reformation, the Council of Trent and the turbulent religious wars. Though the original Martin Guerre (there is meaning in this name, St. Martin of Tours was actually Hungarian, I believe) is a veteran of the Battle of St. Quentin little of the days current events intrudes on Martin and Bertande's village, and contributes little to this romantic triangle. After two hours the two Martin Guerres cancel each other and what is left is Nathalie Baye's wonderful performance as Bertrande de Rols and her concurrence with Mae West.

The one thing that THE RETURN OF MARTIN GUERRE serves to do is prove positively and absolutely that not all the great film productions come from the USA.

This is an extremely well made movie, with extremely high production values. Great acting, great sets, great costumes, great score. Pure quality.

I've seen the remake of this French drama a couple of times, never knowing it was a remake, so when I learned that The Return of Martin Guerre was the original of Sommersby, I hurried to rent a copy. There were a couple of changes, namely the setting and the ending, and overall I liked the Richard Gere version better, but I'm still glad I saw it.

You've got to hand it to Europeans: they know how to make a period piece. I always say to myself, "Where did they film this?" and "Where did they find these people?" The crumbling stones from centuries-old buildings, the lighting only created by candles, and the villagers with missing teeth, greasy hair, and grubby faces can only be found in a true European film. The setting of this movie is truly incredible to look at. It's as if the filmmakers snuck a camera into a time machine!

The story itself is interesting. A young couple is married at the start of the movie, and when the husband leaves without any explanation, she's devastated and alone. Ten years later, Gérard Depardieu comes to town, and the villagers rejoice at his return. (In the beginning part of the movie, they managed to find an actor, Stéphane Pean, who looked and sounded like Gérard; pretty cool!) His wife, Nathalie Baye, is overjoyed. But, in the midst of his happy life, a homeless man starts trouble by suggesting that the man who has returned is not who he claims to be. An investigation follows, and the villagers turn on the man they once loved.

If you know Sommersby, you know that this movie is as depressing as it sounds. There's also a very sinister element of the villagers' traditions running around in costume terrorizing their neighbors. It's pretty creepy, and it makes sense why Nathalie didn't like to live alone all those years. If I were you, I'd stick with Richard Gere. It's a lot more romantic, even though it's less of a period piece.

This film was a big reason why Gerard Depardieu was known in Europe as such a great actor. It was somewhat unfortunate that he tried too hard to make it in American films. Nonethless, The Return of Martin Guerre is one of those films that illustrates the mannerisms of fuedalist Europe, examining the powerless of women and the healthy prvalence of "black magic" and what not. What begins as something of a character study turns into an indictment of an era, showing just backward European thought used to be. Well thought out and evenly paced, this is certainly one to watch.

There is nothing really wrong with this popular and prestigious French period movie. It's just that there is also not much about it to make you sit up and take notice. It's perfection on a small scale. At the very least, it does a good job of transporting you to a poor French village in the mid-1500s. And it has great performances by esteemed French actors. But if you have, by any chance, seen the US remake first ("Sommersby"), you already know the answer to the is-he-or-isn't-he? question that is at the center of the movie. I believe if you don't know the answer, you might rate this higher. For me, it's a **1/2 out of 4.

I've managed to see the original French version as apposed to the atrocious English dubbed version. In this you can hear the passion in the actor's voices and the music somehow seems more traumatic. This is a wonderful tale about the importance of love if the truth does not matter. Remade in the USA as SOMERSBY.

In medieval France, some villagers challenge a man (Gerard Depardieu)'s claim of identity when he (as he says) returns home from some time in the army.

This is sort of like the story of Odysseus, if the story went horribly awry and another man came home and claimed to be him while the real man was lost at sea. It seems hard to believe anyone could so easily masquerade as another person amongst their family and friends, and yet this is allegedly a true story.

American audiences might be more familiar with the Hollywood version. "Sommersby" is a 1993 Hollywood remake of the film in English, transposed to the American Civil War and starring Richard Gere and Jodie Foster. A shame they had to remake it, but at least they cast it well.

(1982) The Return Of Martin Guerre/ Le retour de Martin Guerre (In French with English subtitles) PSYCHOLOGICAL MYSTERY

Seen this movie many years ago about an unknown coming to a village portraying himself to be Martin Guerre played by veteran actor Gerald Depardieu who may or may not be him. The wife of the real Guerre does eventually begin to accept him even though majority of the villagers do not depicting a time period which is during the Medieval times when people believed in witches. I saw this film once and don't think I'll ever see it again since it's strictly by the book and already know what I can't get from other films for instance "The Scarlet Letter" which centers on this time period. It inspired a remake starring Richard Gere and Jodie Foster called "Sommersby" made in 1993, and perhaps "The Astronaut's Wife" made in 1999 starring Charlize Theron and Johnny Depp. The other reason for the negative rating is that I'm also a sucker for superficial endings.