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In 1945 Poland, a young French Red Cross doctor who is sent to assist the survivors of the German camps discovers several nuns in advanced states of pregnancy during a visit to a nearby convent.
Director Anne Fontaine, known for the glossy-but-entertaining biopic “Coco Before Chanel,” strives to dial down on gloss and up the ante on grim realism in her latest directorial feature, “The Innocents,” which tells a terrifying true tale of pregnant Polish nuns in hiding during World War II. The helmer can’t help but resort to artful – or what some would mockingly call “artsy” or “showy” – displays of craftsmanship, but in this case, the perfectly-framed shots, sentimentality and flawless set designs mostly aid the story, instead of overshadowing it. A little well-earned tear-squeezing and eye candy doesn’t hurt – just look at Spielberg’s undeniably powerful – and undeniably glossy – “Schindler’s List.”
Thing is, Spielberg knew he was making big-budget, accessible entertainment, which he also happened to make personal and artistic. Fontaine seems to go the other way, reaching for the great artistic heights of, say, Pawel Pawlikowski’s “Ida,” which dealt with similar (and similarly bleak) themes, but resonated more due to the strict adherence to its style. “Ida” reflected the inner-workings of a conflicted nun in a more believable fashion; “The Innocents” doesn’t so much delve inside the minds of its protagonists, as cooly observe their horrific circumstances from a distance. (A bit of trivia: Agata Kulesza and Dorota Kuduk, who play Sisters Mère and Wanda in “The Innocents” respectively, happen to appear in both films). While this approach does have its merits, one can’t help but wonder what Michael Haneke would have done with this material – just watch his “White Ribbon” and you’ll see what I mean.
Poland, December, 1945. The film starts with the Polish nuns lined up across from each other, singing a choir, then bowing to each other – all but one sister, who stands straight, her face obscured by doubt. She then escapes the confines of the convent and has a group of stray children in a nearby desolate town lead her to a French doctor, Mathilde (Lou de Laâge), daughter of “die-hard Communist parents.” Mathilde promptly sends the nun to the Polish Red Cross – not out of prejudice, but due to a lack of alternative. A few hours later, she spots the woman praying outside the hospital in the snow and ends up driving her back to the convent, where, she discovers, many pregnant nuns are hiding out. “We were persecuted by the Germans,” a Sister says, “and then the Russians arrived… an indescribable nightmare. Only God’s help will allow us to overcome it.” “How many more are in that condition?” Mathilde wonders. “Seven,” Maria replies. “God’s help will not be enough,” Mathilde concludes.
If evicted, the Sisters become “objects of shame.” Mathilde soon gains their trust and starts helping the nuns, bonding with them and guiding them through their pregnancies. Some are devout, some lost they faith after the Russians’ assault and seek refuge in the convent – all are conflicted, bitter, resilient, strong women (whom we, unfortunately, know a little too little about). Mathilda brings back penicillin and assists in their pregnancies, in secret… Until, that is, she has no choice but to involve her lover, the Head Doctor back at the Polish Red Cross, Samuel (Vincent Macaigne). Samuel is Jewish and loathes the Polish: “I can’t stand them,” he says after a night of coitus with Mathilde. “They got what they deserved with the Russians and the Germans.” He eventually puts his “ethics” aside and helps out, the kind-hearted bastard.
Fontaine achieves moments of grandeur and awe on numerous occasions. “Faith is 24 hours of doubt and one minute of hope,” a character says – a poetic and resonant line. There is a graphic depiction of a caesarian section early on in the film, performed under the worst conditions imaginable, which is as hard to watch for the viewer as it is for the nuns (you’ll feel every flutter of their eyes). Another striking moments arrives during an examination sequence, Mathilda taking in the pregnant Sisters, one by one, urging them to “set God aside,” until they bolt, in “fear [of] damnation.” A terrifying encounter with the Russians is highly suspenseful (goddamn those heartless Russkis!). The choirs, as performed by the nuns, are beautiful and ethereal (take note, a-ca-“Pitch Perfect”). There is also the murder of a newborn child in a patchy-white field with a cross; a suicide; and an ambiguously “happy ending” which, depending upon your investment in the film, will either make perfect sense within its context or infuriate you.
Cinematographer Caroline Champetier, who shot the wonderfully kaleidoscopic, neon-extravaganza “Holy Motors,” tones down the approach here. The world created in “The Innocents” is basked in monochrome grays, starkly contrastive snowy whites and hues of pure visual sorrow. Lou de Laâge is fantastic in the central role, Mathilde’s expressions conveying every shade of emotion with utmost subtlety. Her character has little choice but to obey, yet we can see how torn she is. She essentially plays a Christ-like figure in a hellish world, and pulls it off with aplomb. In addition, Fontaine’s film deals with important subjects and themes, such as women ostracized by society; faith shattered by war; resilience and the power of friendship; holding on to traces of humanity in an inhumane world; and the resolute belief in God.
All that said, the pacing is uneven – “The Innocents” lags, especially when it gets deeply bogged down in political discussions, or the “racist doctor” sub-plot. There’s probably two or three birth sequences too many in the film. The villains – in this case, the perpetually-evil Russians – are a little one-dimensional, especially if they are supposed to represent the male-dominated society that exiles females. The film takes patience to sit through – all the murk and gloom becomes overwhelming. Oddly, for such a slow film, we learn next to nothing about everyday nun life, or what drives them. As with Haneke’s (sharper) visions, there’s no doubting “The Innocents”’ artistic merit, but you won’t want to immerse yourself into Fontaine’s beautiful gloom more than once.
“The Innocents” opens at the Angelika Film Centers in Dallas & Plano Friday, July 15th
