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The Return of Martin Guerre is the marvelous and true tale of mistaken identity within the sixteenth century. It provides an intellectually provocative account of Martin Guerre from the village of Artigat, who left his wife and son as a young man only to return years later as a very different man. This changed man identifies himself as Martin Guerre and manages to convince everyone that he has returned. With very few blunders, he integrates himself back into the family he deserted and stole from years before. It seems that everyone including his wife, Bertrande, is willing to accept Martin back with open arms. No one questions his identity and all recognize him, welcoming back to the village he was born in. After several years of social likeability and marital bliss with two children, a vagabond recognizes Martin as Arnaud, nicknamed Pansetta, an old comrade from the war of the village of Tilh, which he denies. But the occurrence spreads gossip like wildfire among the village and there is talk. To make matters worse, not long after, Martin asks his uncle for his share of the farm?s profits and this is where trouble begins.
When Martin left, his uncle, Pierre cleverly married Bertrande?s widowed mother, thus consolidating his holdings. Pierre is furious at Martin?s presumption and attacks, accusing him of imposture, impersonating his nephew in order to steal from his family. Martin denies this accusation profusely and the entire village is caught up in the uproar so much so that the Councilor of Toulouse, is brought in to judge as to whom and what is correct. The Councilor examines Martin as well as Bertrande and speaks to many, finally, asking the village to vote on Martin?s authenticity, where he is justified as ?real.? This is only temporary however, when his uncle forges Bertrande?s signature to demand Martin?s arrest and trial as an imposter. The trial is held to determine once and for all whether or not Martin is who he claims. The first trial at Rieux found Arnaud guilty of imposture. To which he appeals and a second trial is held in Toulouse. The case is described as fascinating and frustrating for both Guerre?s relatives and the villagers who are equally divided between those who thought Arnaud an impostor, and those who believed he really was Martin. What balanced against Arnaud in the end was the shocking return of the real Martin Guerre. To which Davis carefully notes, the reason for his sudden reappearance in Artigat is not in the historical record.
Natalie Davis, author and a historian of early modern France, does an excellent job of painting the life and times of a sixteenth century peasant farming community in the south of France. Gathered from many sources, Davis relies on two main accounts Historia by Guillaume Le Seuer and Arrest Memorable by Jean de Coras. Both were written within a year of Arnaud du Tilh?s execution. She traces the tale of Martin Guerre extensively, providing related details from the time to the families involved. What makes this story unique and all the more intriguing that it was in fact the subject of historical treatise, very rare for ordinary peasant farmers. The book is woven with a pleasing combination of social and historical facts that are not only informative but also interesting. Learning about marriage and family customs of the day, the role of women and the management of property and money, we enter into the life of Martin Guerre-Arnaude du Tilh an opportunity rare of many historical accounts. Armed with religious, historical and social data, Davis proposes realistic reasons as to why each may have acted in the way that they did. An example of this is where Davis describes Martin?s first return from prison ?Bertrande received him with tenderness, washing his feet and taking him into her bed. Very early in the morning, Pierre and his sons-in-law, all armed, seized him in Bertrande?s name and had him bundled off to prison in Rieux.? She makes it effortless to understand and relate to each character?s strength and weakness, desire and ambition. This is also true of the film Le Retour de Martin Guerre, which captured so well the essence of the story. This is not to say however, that the film is in any way as historically accurate or informative as Davis? book. Particularly, in reference to the rich Basque background which is completely ignored as well as many issues pertaining to rural Protestantism that are sacrificed. The film just barely dares to touch on religion with no verbal references and few visual props, these mainly devoted to Bertrande and her chastity. Nor are we told of the origination of Guerre in the film that, in actuality was altered from Daguerre to be accepted by the village. Davis? book contains much more historical information and sociological analysis than the film would ever dare to portray, presenting a well-researched picture of the events. Her writing is easily accessible and flows extremely well from the first person perspective.
Le Retour de Martin Guerre (the French film made in 181 that inspired Natalie Davis to write her book) despite the above criticisms, has proved a successful historical romance by Motion picture standards. The film is artistically and visually pleasing, mainly due to the authenticity that Davis brings to the table, having consulted on the authenticity of the set. The film begins and we are led through the daily routine of a sixteenth century French peasant household, from reaping grain, washing clothes to meal preparation and child rearing. The cast is extremely realistic, faces and clothes are soiled and sweaty, even the hair is stringy and hands grimy. Everyone looks as though they are in dire need of a bath! Although the scene we are brought into is convincing, one is not fully involved in the ongoings until the middle to latter half of the film. This is mainly due to the necessity of laying a sixteenth century foundation for sake of believability but as I mentioned earlier, there is little reference to the family?s origins and deep Basque tradition which could have made the beginning of the film more engaging. However, one must be forgiving when it comes to movies, due to the fact that the average moviegoer is more interested in the actors and the love story than the underlying history, which is disappointing but true. As for the actors, Gerard Depardieu is superb, he gives a compelling performance as the ?fake? Martin Guerre. Depardieu manages to be sincere while at the same time underlying deviance, charming everyone including his wife with that big, hearty smile of his. His wife, played by Nathalie Baye is equally as enjoyable, bringing the perfect mixture of innocence and beauty necessary to Bertrande. Baye balances her situation of knowledge and power well and one is never quite sure if she, indeed, is fully aware of the switch. In her face, we easily identify with her, torn by love, guilt and doubt. Overall, the confusion is portrayed extremely well and the other actors play off of Depardieu and Baye with skill that just seems understood. Everyone understands their position and feelings in a real and authentic manner to which I have only seen the French pull off. When discussing this film with others on the course, many complained of the subtitles, I did not find them distracting at all. On the whole, the film is executed very well and I understand Davis? point that the movie did not fulfill historical standards but one must be prepared for that. The film is a romance that tickles the moviegoers senses, allows one to become involved with the characters and if one is aware enough to observe a little history along the way; it is not an appropriate historical or proper story reference in the way that Davis? book is. As long as they are appreciated in different contexts, I believe both are useful and are laden with rich forms of historical reality.
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