Film Review: The Army of Crime
Under the domination of the bourgeoisie, we are inundated daily with the propaganda of war, individualism, consumerism, greed, competition, nationalism and cosmopolitanism, mysticism, and all other rot inherent in this exploitative system. Bourgeois morals and ethics are deeply woven into movies, music, literature, and art, shaping and confining the consciousness of people. Liberation from bourgeois culture is only possible when the bourgeoisie is overthrown and their suppression of the working class’s all-round development comes to an end. The proletarian revolution stands as the sole force capable of transforming human consciousness, empowering the working masses to become the architects of a new life.
Even within bourgeois society, however, we occasionally find kernels of truth and historical insight in movies or other forms of art that reflect the struggles of our class. The task of communists is to uncover and illuminate these kernels, recognizing their potential to reveal the social conditions depicted in the work. Such depictions provide glimpses into the daily lives and labor of the masses and, in some cases, the revolutionary activity of the most advanced sections of the working class. These fragments of truth can serve to deepen our understanding and inspire the broader struggle against bourgeois domination.
A notable example of this is the 2009 film L’Armée du crime (The Army of Crime), released in 2010 in the United States. The movie offers communists a portrayal of the tactics of the French Resistance, particularly of the grouping of the Francs-tireurs et partisans movement, the Francs-tireurs et partisans – main-d’œuvre immigrée (FTP-MOI), against the Nazi occupation and its puppet Vichy government, led by Philippe “Marshal” Pétain. It follows the formation and activity of the Manouchian Group of the FTP-MOI, which carried out the bulk of the armed resistance in the Paris metropolitan region between March and November of 1943. Composed primarily of immigrants, most being Jewish, the FTP-MOI represented the most militant wing of the Resistance because of its social composition—immigrants and Jews were among the main targets of the fascist regime—but also because it was predominantly led by communists, the scourge of Nazis.
The Communist Party of France (PCF) initiated its armed resistance in the spring of 1942 through the formation of the Francs-Tireurs et Partisans (FTP). Around the same time, the FTP-MOI was established with the incorporation of the Main-d’œuvre immigrée (MOI), a trade union organization representing immigrant workers, into the FTP. MOI, which had been active since the 1920s, was led by foreign communists residing in France and was affiliated with the Third Communist International (Comintern), operating independently of the PCF. Nevertheless, a connection between the two organizations existed, facilitated by Jacques Duclos.
The film highlights how the FTP-MOI, with support from the Comintern and with its detachments from the International Brigades that managed to leave Spain, engaged in its struggle, eventually managing to pull off the assassination of SS General Ritter, head of the Compulsory Work Service, on September 28, 1943. Jacques Duclos, acting as the Comintern’s representative, played a crucial role by guiding and instructing the FTP-MOI’s methods of resistance. Throughout the movie, the audience witnesses Duclos operating in secrecy, using the cover of the masses and even feigning interest in the Vichy government paper La Gerbe, reading it in public in order to conduct clandestine meetings with communists in the Resistance.
As shown in the movie, viewers hear of the origins of these fighters: Italian, Polish, Hungarian, Spanish, Romanian, and, in the case of the Manouchian Group, its leader and its final survivor were both Armenian. The Manouchian Group takes its name after its leader Missak Manouchian, one of the protagonists in the film. The film gives us tidbits of insight into the life of Missak, who survived the Armenian genocide by the Ottoman Empire, moving to France from an orphanage in Syria (modern day Lebanon) and beginning his literary activities, especially poetry. Although the details of Missak joining the PCF and his activity within communist literary circles are not made clear, we can deduce from the movie that his works are known among those in the Resistance and fellow communists. We also witness the intrapersonal struggle of Missak to overcome personal ethics, as they shift to embody the qualities required of a communist cadre: militancy and the ability to recognize when violence is necessary.
The relationship between Missak and his wife Mélinée Manouchian is also depicted, not only as the love between a husband and wife, but as a profound connection between two comrades involved in the struggle. Mélinée, committed to the Resistance, is shown in the movie aiding the cause, notably through the creation of propaganda. The methods of work here are valuable insight into times when the work of communists is forced underground. One notable scene depicts how the group used loud music to mask the sounds of printing and then strategically distribute the printed materials in locations where workers and the public could easily find them.
The film also portrays other members of the Manouchian Group: Marcel Rayman, Thomas Elek, Feri Boczov, Henri Krasucki, and Olga Bancic. The activities of Marcel Rayman and Thomas Elek are emphasized, illustrating the distinction between isolated attacks and the coordinated efforts of a collective organization—specifically, the unified action of communists working toward a shared objective. Before joining the Manouchian group, Rayman and Elek carried out individual attacks against the occupying Nazi forces, driven by outrage at their brutality. Joseph Boscov, a veteran of the International Brigades who pursued and caught Elek after one such attack, explained that such unplanned actions endangered not only Elek’s life but also the lives of his comrades. This lesson holds particular relevance today, especially in the US, where similar attacks against the ruling class have been celebrated.
It was only after Elek and Rayman joined the Resistance, under Missak’s leadership, that their efforts became part of a carefully planned, organized strategy aimed at bringing the Resistance to the forefront of French consciousness and overthrowing the occupying forces. Yet, the example of Rayman—a dedicated militant who was ultimately blinded by love—demonstrates how class enemies constantly exploit vulnerabilities, including our loved ones. This weakness played a role in the capture, torture, and eventual massacre of the Manouchian Group.
The film does raise some questions. Controversy has previously surrounded the motives behind the betrayal and the identity of the person who sold out the Manouchian Group. In France, this became known as L’Affaire Manouchian, with prominent anti-communist historian Stéphane Courtois playing a key role. The matter was supposedly resolved following the opening of police files, which revealed that Joseph Davidowicz, after being captured, provided crucial information that enabled the Special Brigades of General Intelligence to dismantle the Manouchian Group. From the perspective of those involved in the struggles against capitalism today, rather than focusing solely on the betrayal, the real issue lies in the failure of various comrades to adhere to clandestine methods.
Additionally, there is a scene in the film in which a young Resistance militant slanders Stalin in front of Missak. Regarding this second issue, it is important to note that the Resistance included anarchists and others who, while not communists, supported the fight against the occupation.
While the film highlights vulnerabilities, mistakes, and even betrayals that contribute to the capture of the Manouchian Group, it also underscores the remarkable discipline of the Resistance forces. This discipline is evident in their ability to track followers, seamlessly blend into crowds to avoid arrest, quickly transform Resistance meetings into “Armenian weddings,” and cleverly use the proximity of a comrade and oncoming Nazi soldiers or French police to pose as star-crossed lovers. Ultimately, the film makes clear the selfless sacrifices made by each Resistance member—for one another, their families, and the fight for liberation from the occupying forces.
The film ends with Mélinée’s escape and the slanderous creation of the Affiche Rouge (Red Poster).
This notorious piece of propaganda, distributed by the occupying forces and the Vichy government, aimed to discredit both the communists and the French Resistance, in which they played a crucial role. It also served as a tool for the fascist forces to portray the Resistance as being led by Jews and foreigners, labeling them as “terrorists” and suggesting that they constituted the majority of the communists, all of whom were portrayed as a threat to French life and the sovereignty of France. The deception of the Red Poster is evident with the exclusion of Olga Bancic, a clear attempt to exclude a communist woman to prevent her elevation and status as a fighter and example for other women. While not covered in the film, Olga Bancic was not shot with her comrades but was beheaded in Germany in May 1944 around three months after the execution of the rest of the Manouchian Group. The attempt to scare the French ultimately did not work, with the Manouchian Group becoming a symbol of resistance against the occupying forces.
In February 2024, Missak and his wife were laid to rest in the Panthéon, Missak becoming the first communist to be interred there. Despite this, we now see parallels to the past, when the Nazis sought to spread their vile anti-communist propaganda. There have been disgraceful efforts in the European Parliament, where attempts are made to pass resolutions that equate communism with fascism and Nazism. Their concern stems from the realization that, despite the constant push for these baseless and historically inaccurate resolutions, and the flood of propaganda, the people—especially in countries that once experienced socialism—yearn for life free from the barbarity of capitalism.
Those who resisted the brutality of capitalism, particularly its most savage form—fascism—are still admired, remembered, and celebrated as symbols of a superior system, in stark contrast to the harsh reality of the capitalism they face today.
Anti-communism, the distortion of history, and the warmongering of the bourgeoisie and their imperialist allies will not prevail. The truth of history will ultimately come to light, and the fighters, including the communists of the Manouchian Group, who continue to inspire generations, will ignite the flame of liberation.
The working class will prevail.