The Architect and the President: New Film Explores Vision Behind Paris’s Grande Arche de la Défense
A compelling new film, “The Stranger of the Grand Arc,” opening in theaters tomorrow, delves into the complex story of the Grande Arche de la Défense, the iconic monument in Paris, and the clash between architectural vision and political reality during its creation. Distributed by Movies Inspired, the film stars Claes Bang as Danish architect Johan Otto von Spreckelsen and Michel Fau as French President François Mitterrand.
In 1982, President Mitterrand announced an anonymous architectural competition to construct a landmark building along the axis of the Louvre and the Arc de Triomphe. To the surprise of many, the winning design came from von Spreckelsen, a 53-year-old architect then largely unknown in France. The film portrays his sudden ascent to overseeing one of the largest construction projects of the time, a massive concrete cube hollowed out and clad in glass and white Carrara marble, ultimately inaugurated in 1989 to commemorate the bicentenary of the French Revolution.
Director Stéphane Demoustier, known for his previous works including “Terre Battue” (2014), “Allons Enfants” (2017), “The Girl with the Bracelet” (2019, a César Award winner for best adaptation), and “Borgo” (2023), based the film on Laurence Cossé’s book detailing the creation of the Grande Arche de la Défense. Demoustier explained that he was drawn to von Spreckelsen’s relatively unexplored story, stating, “I wanted to get closer to his mystery and pay homage to him.”
The film positions the project within the context of Mitterrand’s ambitious “grands travaux” – large-scale public works – during his first seven-year term, highlighting a shift from the optimistic spirit of the early 1980s to a more pragmatic and liberal approach. According to Demoustier, “Architecture inevitably becomes a collective adventure…But the fact remains that at the beginning there is the gesture, the vision of a single man.”
To visually reflect von Spreckelsen’s “cubic” obsession, the filmmakers employed a 1.37 aspect ratio. The production team prioritized historical accuracy in recreating the 1980s, filming in locations like the Élysée Palace and utilizing special effects to animate archival photographs and showcase the scale of the construction site. Demoustier emphasized the importance of technical collaboration, noting, “I firmly believe that every technician must make the director more intelligent than he is.”
The narrative also explores the dynamic between von Spreckelsen and Mitterrand, described as a meeting of “two personalities, two egos.” A senior official involved in the production noted that Mitterrand, despite his reserved nature, maintained a level of intimacy with the architect, with witnesses recalling a “sincere admiration” from the president, whom they called “Monsieur l’Architecte.”
The film suggests that Mitterrand’s initial support for von Spreckelsen stemmed from a shared belief in a transformative vision – the president’s promise of “changing life.” However, as the 1980s progressed, the project faced challenges with the shift towards austerity and a new economic order. Von Spreckelsen, according to the film, felt his original design was “distorted” by these changing circumstances.
Demoustier further elaborated on the visual representation of Spreckelsen’s outsider status, explaining, “It was necessary for us to immediately perceive that Spreckelsen comes from another place and that he thinks differently.” This was achieved through casting a tall actor, Claes Bang, and costuming him in a distinctive style, including sandals, to emphasize his detachment from the French establishment.
The director also highlighted the importance of capturing the physical and emotional impact of the construction process on von Spreckelsen, noting that the Arch’s “immensity…ends up crushing Spreckelsen.” The use of visual effects, integrated with archive footage, aimed to convey both the monumentality of the work and the potential for the loss of artistic ideals.
The cast also includes Xavier Dolan as Jean-Louis Subilon and Swann Arlaud, with Sidse Babett Knudsen portraying Spreckelsen’s wife, a character created to represent the often-unseen support system behind great architects. Demoustier praised Bang’s dedication to the role, noting his immersive approach to learning French and capturing the nuances of von Spreckelsen’s personality.
“The Stranger of the Grand Arc” ultimately presents a nuanced portrait of ambition, compromise, and the enduring power of a singular vision against the backdrop of a changing political landscape. It’s a story of how a bold architectural statement became intertwined with the legacy of a French president and the evolving spirit of an era.
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