Flame and Citron Filmic Analysis The film, Flame and Citron, is a period film of Nazi occupied Denmark

during 1943 and 1944 that focuses on two key resistance fighters, Flame and Citron. The film follows these two on their endeavors and blurs the line between who is in the right and who is in the wrong. Its important to note that this is a Danish film recounting the tales of two of the most active and glorified resistance fighters of WWII in Denmark. Such a film, one would think, would aim to paint these two heroes of Denmark as just that, heroes, but in fact the film calls into question whether any motive in killing is right, even Flame and Citrons motives. Narrative Devices When the film opens, the viewer is introduced to the story of Flame and Citron with actual footage taken of the German occupation of Denmark. A narrator begins to speak asking the viewer if they remember the day that the occupation occurred. This becomes a trope throughout the film, being shown two more times with actual footage of Nazi actions on Denmark and the narration always begins with asking if the viewer remembers when this action occurred. Its an interesting technique and seems to almost provide a type of transition in the movie that reinforces the pace by pulling back the momentum and allowing the viewer to readjust and get comfortable for the next part of the movie. In fact, it seems to outline the basic storytelling triangle: exhibiting rising action, transition into the climax and falling action, and then the conclusion. Apart from the transition effect, these interjections seem to provide a sense of motivation to the actions of Flame and Citron, but in a vague, unassuming nature.

Flame and Citron In large part, the main narrative pattern of Flame and Citron is driven by action

with little dialogue and some interjected narration outside of the narration of on top of the aforementioned three pieces of actual footage. Cinematic Devices One of the most noticeable cinematic devices that Flame and Citron employs is the use of deep, dark moody colors throughout the film harkening to the low-key black and white of old film noir technique. Even much of the plot seems to hint at film noir inspiration in that there is a predominating sense of cynicism that gradually builds throughout the film and climaxes when Flame and Citron begin questioning their motives, whether they are in the right, and whether they can justify their actions. Further more, film noir is represented by a side plot line in which Flame is driven by sexual motivations that complicate a relationship with a possible triple agent. In addition, this cinematographic technique especially highlights Flames moody red hair, an aspect that comes into play as a trope throughout the movie (Ebert, 2009). Another cinematic device that was noticed in retrospect was in the costuming of the characters Flame and Citron. Flame is a very noticeable character, readily approaching females he finds attractive, taking chances, and very unquestioning of his loyalty to Denmark and his informant, Winther. This openness and unflappable confidence is exhibited in the minimal accessories he wears in addition to the standard pants, shirt, jacket, and, of course, gun. Citron on the other hand, is a nervous, closed off, and seemingly conflicted individual and this is portrayed by the array of accessories he wears in addition to the standard outfit. These accessories, a scarf, fedora, and thick rimmed glasses in combination with his jet black hair seem to close his character off from

Flame and Citron

the viewer creating an even more conflicted character than mere scripting would. Toward the end of the movie, when Flame begins questioning whether his motives are pure and right he eventually starts wearing a black beret, closing his character off as his confidence wanes and trust begins to fade in those around him. One further cinematic device that should be noted, and this was especially noticed with Flame, is the use of freehand cinematography. At times when inner conflict would escalate with Flame, such as when the possibility that he had been betrayed was being presented to him, the camera would be held freehand and the natural shake of the camera operator would be allowed to show, portraying a shakiness of the inner thoughts of Flame. This same cinematographic technique was additionally used throughout the film, not solely in exhibiting inner tension, but also tension in the action such as when Flame and Citron would be running from pursuers. Tropes As already mentioned earlier, the use of actual footage and narration over it was used three times during the movie with similar narration each time, providing a sense of transition and motivation to Flame and Citrons actions. Other tropes included Flames red hair for it was a constant talking point for characters in contact with Flame. It was mentioned that Flame should wear a hat every time the reward went up for his capture because one of the key descriptors of his appearance was his red hair. Another trope that was noticed within the film is the employment of a brief zoom to pull in tighter to characters before key events would occur such as when German soldiers invaded the homes in which Flame and Citron are hiding at the end of the film. This is an interesting technique because the zoom technique has largely been absent in

Flame and Citron cinema since the 1980s and used very little in modern cinema, but this technique was fantastically used and drove the intensity of the scene by visually alerting the viewer to the importance of the scene. Perhaps the largest trope was the theme of right and wrong. The film starts with Flame and Citron confident in their assigned hits and the justification of them, but this confidence slowly disintegrates over the course of the film as the lines are blurred between what motives are behind certain hits, whether their intelligence agent, Winther, has pure motivations, and whether the people Flame and Citron are killing are truly wrong in what they have done. Perhaps this idea is best illustrated by Citrons line,

There is no just or unjust anymore, there is only war which he stated toward the end of the film. Conclusion In large part, the film, Flame and Citron, paints an elaborate picture of the resistance movement in WWII. While Flame and Citron are heroes in Denmark, they are not painted so much as heroes in the film, but as conflicted individuals, searching for truth amidst an altogether confusing period in history. The movie resolves in the end with Flame and Citrons deaths, but concludes no particular point as to whether Flame and Citron were truly great men. The ending shot portrays this by showing Flame and Citron dead in an unmarked grave as the shot pans out revealing two German soldiers filling the grave. The shot continues to pan out and eventually away from the grave to the sky where it fades to black. Soon after, facts from these events in history are presented about the characters in the story, but they are facts and nothing more, leaving the viewer to form their own opinions about the acts of the two resistance fighters and whether what they did

Flame and Citron was truly right. Can one honestly, if they step out of their shoes and view someone else

from their shoes justify killing another? Or is there a time and a place to kill? Can killing be justified and is it ever right? These are just a few of the questions that the film Flame and Citron bring out to the viewer as they make their way through dark colors, places, events, and emotions of the resistance in WWII.

Flame and Citron References Ebert, R. (2009, August 19). Flame and Citron. Retrieved May 18, 2010, from RogerEbert.com:

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090819/REVIEWS/908 199991/1023