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Summary Complete context notes of the director's commentary in 'Un Long Dimanche de Fiançailles' $8.38
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Summary Complete context notes of the director's commentary in 'Un Long Dimanche de Fiançailles'

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Using the French-language director's commentary, as well as the historical allusions seen in the film, images and context, this 9-page document looks thoroughly at each of the academic, artistic and sometimes personal references made in Jeunet's greatest work. These can help students really impress...

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  • September 23, 2018
  • 9
  • 2017/2018
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Director’s Commentary of ​Un Long Dimanche de Fiançailles​:

References and Allusions


Event in ​Long Dimanche Source
Plus things in italics which aren’t really allusions as such but
things I wanted to note down just because they interested me

Hanging crucifix Real WWI photographs
Horse blasted into a tree




The ‘small gag’ at the very beginning An artistic allusion to ​Delicatessen ​(Jeunet and Caro;
1991)

A boy hanging by his suspenders from a tree An anecdote from Jeunet’s own military service

Use of High-to-Low panning shot of characters The films of Soviet director Andrei Tarkovski,
passing under ‘the wire’: Ange Bassignano falls to especially ​The Mirror ​(1975)
his knees

Bassignano stabs a knife into the right buttock of an Artistic/stylistic reference to gangster classic ​The
unnamed character with whom he feuds Godfather: Part II​ (Coppola; 1974)

The fact that some soldiers begin digging the mass ‘Les Croix de Bois’ (‘The Wooden Crosses’), a 1919
graves before combat ‘to get a head start’ novel by Dorgelès presenting the author’s first hand
experience of World War One (Note consultation of
The concept of the wire being the only means of a primary source to inform art)
contacting the outside world; receiving Pointcarre’s
pardon

Use of the musical watch for dramatic effect A dramatic device used as a motif; stems from ​A
Fistful of Dollars ​(Leone; 1964), a masterpiece of the
Spaghetti Western genre

The stylistic influence of the combat sequences Jeunet loves ​Saving Private Ryan​ (Spielberg; 1998);
if he felt the special effects or cinematography
teams were not producing the desired effects in
combat sequences, he made them watch the film
again.
→ On YouTube, ​Nerdwriter1​ has a video entitled
Saving Private Ryan: How Spielberg Constructs A
Battle Scene​ which is really excellent for pulling
apart the revolutionary way Spielberg created the
Omaha Beach sequence.

The use of the camera to ‘track’; almost becoming a Recalls Sergio Leone and Bernardo Bertolucci’s
character itself at certain points iconic cinematography

The re-use of sets in the ‘Commandant Lavrouye in Jeunet happened upon the same sets that had
a bath’ scene previously been used for filming by Sally Potter’s
film ​The Man who Cried​ (2000), another film set
against the backdrop of war

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