Has anyone exerted as much influence over the spy genre as Ian Fleming? Examples of espionage fiction may have predated his transition from naval officer to novelist by well over a century, but it wasn’t until the appearance of the British Secret Service’s finest asset, James Bond, that it became a cultural phenomenon .
The rest of the film continues along this bleak path. After escaping the Gestapo during an interrogation attempt, Gerbier resumes his duties undeterred. The first order of business? Assassinating the colleague who betrayed him. This is not an act of petty revenge, but an unavoidable tragedy that Gerbier and his fellow conspirator Félix Lepercq execute with a frightening level of banality. They intend to shoot him, but the arrival of next-door’s neighbors forces a change of plan.
The most surprising part of Army of Shadows is just how little Gerbier and his cohorts achieve. The resistance spends most of the runtime “fixing” their own problems, either by murdering suspected traitors or enacting grandiose rescue attempts against those who have been captured – the latter giving rise to a pseudo-heist sequence that sees Army of Shadows flirting with more typical spy hijinks.
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