‘The Great Arch’ Review: Claes Bang Captivates as an Unknown Danish Architect Battling French Bureaucrats to Build His Monumental Work

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Between Megalopolis and The Brutalist, two groundbreaking films featuring architects at their most ambitious were among last year’s art-house releases. While less renowned than its counterparts, Stéphane Demoustier’s The Great Arch shares some of the same challenges related to ego clashes, technical difficulties, bureaucratic conflicts, and financial disputes. This film tells the heartbreaking true tale of Johan Otto von Spreckelsen, a Danish architect whose vision for a monumental structure near Paris ultimately led to his downfall.

Overflowing with more anti-French sentiment than typical films produced in France, the movie provides a detailed chronicle of von Spreckelsen’s experiences following his selection to construct a modern arch in the advanced La Défense district beyond the city. He harbored lofty aspirations that his “cube,” as he repeatedly named it, would be recognized alongside the Arc de Triomphe and Eiffel Tower as an everlasting component of Paris’s scenery. However, he was unaware that he would engage in a prolonged and difficult struggle against various sectors of the French government, with only President François Mitterand supporting him throughout.

Based on Laurence Cossé’s 2016 novel, “The Great Arch” represents the fifth film by Demoustier, who has been making movies for more than a decade. Unfortunately, none of his earlier works have been shown in the U.S., which is a shame because Demoustier (the brother of renowned actress Anaïs) is one of those uncommon French directors who can skillfully combine suspense with insightful writing and character development, creating thought-provoking thrillers that delve deeply. His latest film, “Borgo”, featuring the exceptional Hafsia Herzi as a questionable prison guard in Corsica, is definitely worth watching.

Demoustier’s most recent movie lacks the intensity of suspense present in his previous works, but it maintains a subtle undercurrent of tension. The protagonist, von Spreckelsen (played by Claes Bang), transforms from an obscure architecture professor to the architect of a monumental structure that has not graced the Paris region for decades. In 1982, his daring white cube design was chosen as the new Grand Arch, standing proudly on the western end of an axis stretching from the Arc de Triomphe, through the Champs-Elysées, and to the Louvre. This revelation sends shockwaves through the French establishment, particularly when Spreckelsen’s intense devotion to his project and disregard for practicality in its construction are exposed.

Initially, it seemed unlikely that the skilled project manager, Subilon (notably played by Xavier Dolan), would choose him for the task. However, von Sprecklesen unexpectedly gains the support of Mitterand himself (portrayed by Michel Fau), who becomes captivated by the Dane’s discussions on art and culture during their numerous interactions. An accomplished French architect, Paul Andreu (known for his role in ‘Anatomy of a Fall’, played by Swann Arlaud), who designed Charles de Gaulle airport at just 29 years old, joins the team to tackle the complex logistical challenges, tolerating von Sprecklesen’s stubbornness regarding his masterpiece.

The Great Arch explores the intricate process of building a public structure in a nation where bureaucratic hurdles are prevalent, frequently stifling imagination due to political and financial constraints. The movie doesn’t hesitate to expose the behind-the-scenes workings, whether it’s depicting von Spreckelsen attending numerous meetings as his initial blueprint undergoes significant changes (to him, it seems drastically altered; to us, it appears much the same), or else chronicling the step-by-step transformation of the construction site, effectively portrayed through a mix of visual effects and set design (attributed to Catherine Cosme).

Here, Brady Corbet’s film, specifically The Brutalist, is what immediately springs to mind due to von Spreckelsen’s visit to the very same Tuscan quarry where Adrien Brody’s character suffered a tragic end in that movie. However, unlike his character, the Danish architect encounters a different type of misfortune – discovering that the marble he selected is not only unsuitable but also beyond the budget for a project already strained financially. An additional setback occurs when Mitterand’s party loses the midterm elections, resulting in a right-wing government taking power with their own plans for the renowned cube.

I, much like a sculptor, find myself facing the gradual erosion of my masterpiece at the hands of those in power. Determined and principled, I’ve even been seen virtuously playing the organ of a church I designed in Denmark – a testament to my religious beliefs. However, I’m ill-equipped to navigate a French system that seems to be ruled by bureaucrats who are constantly at odds with one another, all vying for the president’s favor.

In this role, Bang fits flawlessly. He portrays a commanding character who can be both detached and self-centered, yet whose imposing presence softens throughout the movie. Although we delve deeply into the architect’s professional life, von Spreckelsen’s personal life remains largely unexplored, save for his seemingly harmonious relationship with his wife and partner, Liv (Sidse Babett Knudsen). However, even this bond succumbs to fractures as the project encounters obstacles in its progression.

Demoustier’s portrayal of the lengthy and scandalous project that spanned seven years to build The Great Arch is a narrative of shattered dreams, with von Spreckelsen as an ill-fated genius who lucked into an architectural opportunity but ultimately suffered greatly for it. The film contains several witty moments, particularly those centered around the French’s antics, but the Danish tale concludes on a decidedly bleak note.

As a gamer, I’d say: The movie overlooks the fact that von Spreckelsen’s creation, despite its imperfections compared to his vision of a perfect cube, remains an imposing structure in today’s urban landscape. It’s a hub where skaters, breakdancers, and crowds of teenagers gather beneath its colossal white (or more accurately, light gray) walls. Just like the Eiffel Tower or Notre Dame, this architectural marvel has become an integral part of Paris.

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2025-05-16 16:54