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Le Voyage d'automne
© Les Films Pénélope
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  • Belgique, France | 2002 | 52 minutes | Beta numérique
  • Un film de Claude Vajda

L'ouvrage "Voyage d'automne" de François Dufay, qui a rencontré un succès immédiat, raconte comment en 1941, 7 écrivains - et non des moindres - (Chardonne, Drieu la Rochelle, Brazillach, Fernandez, Jouhandeau, Bonnard, Fregnaux) ont accepté de se rendre en Allemagne sur l'invitation du Dr Goebbels... un peu poussés, il faut le dire, par leurs éditeurs français. Voyage de la compromission et du mensonge pendant que l'on fusillait à Chateaubriand et que le front de Stalingrad devenait de plus en plus sanglant. C'est ce voyage autour d'archives allemandes que nous voulons raconter, mais aussi les dérives de ces intellectuels qui non seulement heureux de voyager comme des princes, publiaient des textes innommables. Le film raconte cela. Claude Vajda, le réalisateur, a travaillé en étroite collaboration avec François Dufay.

The Treason of the Clerks They numbered seven, the French writers Dr. Goebbels invited to Weimar in 1941. No Jews, just "purebloods". The group was to participate with others writers - Belgian, Swiss, Finnish, German, etc. - in the book festival commemorating the war. We accompany these pro-Geman collaborators on a sightseeing tour of beautiful Thuringia, during their visit to Adolph Hitler's office, we see them bow before the graves of Goethe and Schiller, and attending a concert in a Viennese castle. In counterpoint to the filmed footage and the reading of excerpts from their books, historians comment upon and put in perspective this "treason of the clerks", whose vanity went hand-in-hand with the pro-nazi commitment - and above all with anti-Semitism - backed up by dubious esthetics. Cruelly accurate, the film raises many questions. On the clemency that some of these writers benefited from at the end of the war. On the way in which we judge them today. Fraudulent links betwen writers and power after the war and which still occur today bear witness to the fact that vanity and the abdication of any critical sense remain very much alive

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