In its very title, This Land is Mine (Renoir, 1943) registers both the historical crises the film seeks to represent and the representational crises this history engenders. Like those of other war-time Hollywood melodramas that deal with European fascism-The Moon is Down (Pichel, 1943), for instance, or Hangmen Also Die (Lang, 1943)-Renoir's title produces by way of its earnest sententiousness, its pared-down declarative grammar, a forceful rhetorical gesture of reclamation. Yet the title's blunt assertion of ownership necessarily recalls the interrogative challenge to which it responds: Whose land is it? In answer to this otherwise unasked question, in fact, the title may be understood as asserting either reclamation or usurpation, signifying either the triumphal liberation the film's rhetoric heralds or, alternatively, the fascist occupation of a small European town that its narrative chronicles. In spite of the title's first-person form and the sense of immediacy it implies, the sentence is spoken by no character in the film itself, but appears as the patriotic slogan at the head of a leaflet distributed by underground resisters of the occupation. At a crucial moment in the narrative, the meekly apolitical schoolmaster Albert Lory (Charles Laughton) pockets the leaflet instead of discarding it, leading to his subsequent arrest. The Nazi officers who discover the leaflet on his person understand the slogan as evidence of Lory's guilt, but since the audience has witnessed Lory's repeated failures to resist the occupation, his arrest invests the title with a third potential level of significance, designating a third position possible in relation to the titular assertion of ownership, that of ideological neutrality. One of the lessons
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