Christmas in the trenches

Drinking beer with the enemy in the trenches of a muddy battlefield is no way to spend Christmas, but for some soldiers there was no other choice.

Directed by Christian Carion ("The Girl From Paris"), "Joyeux Noel" is based on the Christmas truce of 1914, which took place on the Western front during World War I.

Soldiers who had spent most of 1914 deep in the trenches were given the opportunity to lay down their arms, play some football, and drink a couple of beers with one another.

The film begins with a brief look into the lives of a few soldiers before they were drafted into the war, including an opera singer and a priest.

The group is composed of unlikely soldiers, and their transformations after being drafted exemplify the need to adapt to a tumultuous situation. The group's sacrifices appear to be much more meaningful, as many of the other soldiers didn't experience such dramatic transitions.

No soldier in the film wanted to be separated from their families and crammed into a filthy trench in the dead of winter. They didn't believe in or support the war, and all they really wanted was to go home.

The major downfalls of "Joyeux Noel" are the several overly exaggerated sentimental moments that add a level of unnecessary soppiness to an otherwise interesting plotline.

At one point there is a conversation between two soldiers on opposite sides of the front in which they realize that they used to live not far from one another. Carion goes to an unnecessary extreme to evoke an emotional reaction from his audience; the film would be much better if these frequent and overly emotional moments were left out.

However, "Joyeux Noel" tactfully demonstrates how similar the men on opposing sides really are. There are several shots that pan over an array of young men's faces on all fronts, each one transposable with the next.

This physical interchangeability mirrors the emotional state that is shared by every soldier on the front lines.

The truce granted the soldiers a limited but significant break from their daily routine and from the uncertainty that they faced every morning as they awoke. On Christmas they were reminded that the enemy has not only a face, but also a name and a history.

Eventually, all of the men were able to relax and become friends. They shared food, exchanged addresses, and wished one another good luck.

The most absurd moment was when the Germans protected the French from an artillery attack by covertly housing them in their own trenches, which was considered a treasonous act.

Guillaume Canet ("The Beach") plays French Lieutenant Audebert, a man who is hiding his fear from his company and struggling to make sense of the situation that he has found himself in. Canet brings a haunting clarity to Audebert in a performance that is unrelenting in its depth.

Audebert is able to form an unspoken bond with German Lieutenant Horstmayer, who is portrayed by Daniel Bruhl ("Goodbye, Lenin!"). Horstmayer is overbearing and cruel at times, which makes his growing friendship with Audebert all the more appealing. Bruhl does an effective job of portraying Horstmayer as a man calloused by war, one who keeps his true emotions permanently hidden.

Carion is a relatively inexperienced director, with only two films to his credit. However, this does not diminish the harsh loveliness of "Joyeux Noel." His film is about the people, and not about war.

It is hard not to be attracted to the overwhelming humanism displayed by Carion in this film. He clearly takes the soldiers' side, because his depiction of the men in higher ranks is horrific. They are shown lounging around, drinking wine, and stuffing their faces with turkey while complaining about the poor performance on the battlefield. Ironically, they themselves never set foot on it.

"Joyeux Noel" offers an alternate perspective on war by providing an extremely personal view that is easy to relate to. The obvious parallels that can be drawn between the film and the current political situation in Iraq add another level of interest entirely.