Stam, Robert, and Spence, Louise. Galoup (Denis Lavant) makes his bed with military precision, the discipline of his many years in the Foreign Legion lingering in his bones even after his unwanted repatriation to France. Because it is implied that Galoup has homosexual tendencies or desires that he represses, and because she then chooses for him to end his own life by the end of the film, Denis’ motivations underlying the formal construction of her film must be interrogated.Comolli and Narboni also said that “cinema is one of the languages through which the world communicates itself to itself” (689). So what is Denis trying to communicate to her audience by choosing to end her film with the final suicide? In death, in dance, Galoup is liberated, given access to the joy and spontaneity that eluded him in life.Erika Balsom is a critic and scholar based in London, UK. Loosely based on the opera Billy Budd, Beau Travail takes place in Djibouti, East Africa. Inspired by Billy Budd, Claire Denis’s Beau Travail takes place in present-day Djibouti, where Herman Melville’s sailors have become soldiers in the French Foreign Legion. Claire Denis, Beau Travail, 1999, film still (closing sequence). Extending Stam and Spence’s insights, we might call these queer groupings of themes and sensual imagery “the colonized” oppressed by their heterosexual audience and by their heterosexual maker. Showing the group of men doing their rigorous training, letting the camera virtually caress their glistening, muscular bodies and their glances that are held for just a second too long lends an illusion of, if not a homosexual gaze, at least a gay-friendly one.Sadly, despite trying to dismantle the traditional male gaze, Denis forgets to counter or anticipate what Stam and Spence refer to as “hegemonic images” (Stam and Spence 757) of gay culture. My first time watching a film by Claire Denis and I'm glad to have started it here. On his chest, a faded tattoo etches in flesh an imperative also whispered in voice-over: ‘Serve the good cause and die.’ By now, the narrative of Claire Denis’s exquisite film Superlative pronouncements about the history of cinema are fatuous, but I’ll risk one nonetheless: what follows these desolate shots of Galoup, supine and suicidal, is perhaps the best ending of any film, ever. He lies down and holds a gun to his bare stomach. All rights reserved.

Unfortunately, this critique, while hardly submerged in the film, becomes itself repressed by a hegemonically heterosexist gaze which lingers only on the questions of sexuality, leaving the racial and political tensions of the film uninvestigated.Denis gives the indigenous people their own voice, showing what their daily activities are like, capturing their native language in use so as to avoid the “absence” that Stam and Spence think often ends up “reduced to an incomprehensible jumble of background murmurs” (Stam and Spence 756). Denis raises many questions with her final scene, rather than giving the spectator a pat conclusion in which answers are clear (in Perhaps, in the end, this is the ideology Denis intends to attack with Corona’s “The Rhythm of the Night,” a tacky gay anthem, pulsating against tracks of red blinking lights and a mirrored wall, is Denis’ idea of a gay heaven’s soundtrack.

The famous dance scene from Claire Denis's movie Beau Travail (1999) Song The Rhythm of the Night; Artist Corona; Album The Rhythm of the Night; Licensed to YouTube by WMG, Kontor New Media Music (on behalf of DWA Records); PEDL, LatinAutor, ARESA, SODRAC, Warner Chappell, LatinAutor - PeerMusic, EMI Music Publishing, BMI - Broadcast Music Inc., CMRRA, Abramus Digital, … He lies down and holds a gun to his bare stomach. ‘This is, perhaps, the best ending of any film, ever’Galoup (Denis Lavant) makes his bed with military precision, the discipline of his many years in the Foreign Legion lingering in his bones even after his unwanted repatriation to France. The white, heterosexual female director makes a strong filmic comment by inferring that the only way for this character to resolve his turbulent mind, addled by homoerotic thoughts, is to kill himself. With Denis Lavant, Michel Subor, Grégoire Colin, Richard Courcet. The director’s emphasis on the homoerotic nature of the characters and on the images themselves lends to the work becoming overly fetishized, thereby turning the characters and images into objects of fascination. This extreme contrasting of nature with modernity is also suggested more abstractly through Denis’ choices to juxtapose images with strong homosexual connotations to images of war and soldiers, so that she is perhaps damning the idea of war or traditional masculinity’s place in war.

Courtesy: Curzon Artificial Eye . The images of sexual gaze and longing which ostensibly saturate the film obfuscate a trenchant critique of colonial practice and domination.

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