This film deals with the colonial era of Vietnam when the French had become the colonial power. The specific tale involves a French woman who has amassed a huge rubber plantation somewhere near Saigon. She has lived life to its fullest without ever marrying but her prime interest is this plantation. Enter a young French navy captain who sweeps Eliane off her feet: the two begin an affair which Eliane terminates quickly. Eliane has adopted a young Vietnamese girl when her parents both die in a crash. Camille, the young girl is groomed to become the wife of a rich powerful Vietnamese family but she falls for the handsome young navy captain her mother has dumped. Even though Camille marries the young Vietnamese boy who has studied abroad bringing Communism back to Vietnam, she plans to run away from this traditional union to connect with Jean-Baptiste, the young navy captain. They have a baby boy which Eliane raises as both parents are jailed. When Camille is finally released, she refuses to return home. This leaves her son with her mother. Eliane sells the huge rubber plantation to bring the Vietnamese young man back to France. The love triangle has unfolded to reveal the colonial era Vietnam. The film is superbly well done and the plot is gripping. The setting of Saigon during the French colonial period reveals much social and political history! It is a great film just to view but shows how Vietnam has come to be what it is today. The film might be used in classes to reveal the results of colonialism-especially if studying Vietnam.

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Reviews for Indochine


Posted By: Sandra Gianella

Posted On: May 22, 2017

The book The Girl in the Picture is a biography of the life of Kim Phuc, the young girl featured in a well-known picture from the Vietnam War showing children running down the road after napalm had been dropped on their village. One girl in the center of the photo is running naked after the napalm burned the clothes right off her body. It does not take much imagination on the viewer's part to imagine the screams coming from her based on the agony depicted on her face in the photo. The author does provide thorough background into the history of Kim Phuc's family. The reader is afforded a first-hand account of the roles family members play in Vietnam prior to the onset of the war as well as during the war.
The author also explains then effects the picture had on the life of the young Vietnamese photographer, Nick Ut, who actually captured the picture for American journalists and the efforts to get it published in the West.
The book does not begin with Kim Phuc as a young girl in a village, rather we are introduced to her as an adult woman living an unassuming life in Toronto with her family when she realizes she's being followed by paparazzi who have recently learned who she is and where she's living. From there time rolls in reverse back to the early lives of her parents and the daily on-goings of the people of her village. In this way, a reader with limited knowledge of life in Vietnam prior to and during the war for the citizens of Vietnam gains some understanding of some of the difficult life-choices forced on these people daily.
This book is not only informative, but also a touching story of human perseverance, resilience, and maybe most of all it is a story of forgiveness.