Francois Truffaut’s classic film The Last Metro depicts the frustration, confusion, and compromise in German occupied WWII France through the lens of theatre. A strong underlying theme of the movie is ambiguity. For instance, the character Bernard Granger is a young, handsome actor who supports the resistance but his actions are very unclear. The portrayal of Bernard Granger parallels France’s romanticized images of resisting the German occupation when in reality who collaborated and how many were part of the resistance is vague at best. Bernard Granger is mostly concerned with using his dashing looks and charm to shamelessly flirt with women, but still finds time to meet with his friend in the resistance. From what we are shown of Bernard he is against the occupation but his actions are, for the most part, passive. Bernard’s involvement and ideals are largely unexplored except for the implication that he turned the theater’s record player into a bomb. However, we never see the explosion or become involved in his fight. The viewer is never shown any action, hear any discussions regarding the various governments or political environment, or come to understand any sense of the resistance as an entire movement. One only comes to understand that Bernard is a “sexy rebel” who you assume is an active member of the resistance. One defining moment for Bernard is when his friend from the resistance is arrested. Bernard is apparently waiting to meet with a member of the resistance when his friend is swarmed with police right in front of him and he does nothing but watch. Perhaps he realizes that he can only do so much and he is better off continuing the work without his friend, but we never see him take any initiative to continue organizing and acting against the German occupation. What we do see, however, is Bernard Granger’s proposed resignation from the theater in order to follow the resistance. Although he at first app