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PARIS 2024 OLYMPICS

Ex-Resistance fighter, 102, to be Paris Olympics torchbearer

At the age of 102, Melanie Berger-Volle will carry the Olympic torch as high as she can, despite her fragile shoulder, to champion the values of friendship between peoples that she defended during her time with the French Resistance in the Second World War.

Ex-Resistance fighter, 102, to be Paris Olympics torchbearer
Melanie Berger-Volle poses at her home in Saint-Etienne on March 26, 2024. (Photo by JEFF PACHOUD / AFP)

A “woman in the shadows” during the Occupation (1940-1944), Berger-Volle was thrilled to be chosen to carry the torch as it passes through Saint-Etienne on June 22nd on its way to Paris for the start of the Olympic Games.

The weight of the torch has been a concern but there was never any question of turning it down.

“I’ve always loved sport,” says the sprightly centenarian who until recently enjoyed an hour’s walk a day.

Grandmother of the gymnast Emilie Volle, who took part in the Atlanta Olympics in 1996, she also wants to be a symbol for women “who have fought to play sport like men”.

“My ideal has always been to unite the world,” she says. “And the Olympics are a wonderful opportunity to get to know other human beings.”

‘Mistreated’

Born in Austria in 1921 into a Jewish working-class family, Melanie Berger began her activism as a teenager in an extreme left-wing group.

“We were atheists and when I started fighting it wasn’t for religious reasons, it was political,” she says. “I’m against all dictatorships.”

After the annexation of Austria by Nazi Germany in 1938, she left her country, went to Belgium and then arrived in France, in Paris in the spring of 1939, disguised as a boy.

When France went to war later that year, all Austrians, even refugees, were seen as enemies and the authorities put her on a train to a camp near Pau.

At Clermont-Ferrand station, she “jumped out” of the carriage.

She was on her own as the other girls did not dare follow her.

“They weren’t political, they didn’t know what a camp was,” she shrugs.

On the contrary, the young activist was well aware that “when you get a chance, you can’t let it go by”.

In 1940 after the French surrender to the Nazis, she found herself in Montauban, where a group of Trotskyist militants she had belonged to before the war was beginning to reform.

“With my French-sounding name, I rented a flat in a dilapidated house, and from there we were able to start work.”

Discreetly, the group drafted and distributed German-language leaflets aimed at turning Reich soldiers.

In January 1942, however, that all came to an end when the police raided the house and she was arrested and brutally interrogated.

“I was mistreated, men beat me,” she says quietly. “The after-effects are still with me. But I’m still here.”

She avoided a death penalty and after 13 months in detention in Toulouse, the 22-year-old Berger was transferred to the Baumettes prison in Marseille.

Members of her group, together with the Resistance, prepared her escape.

‘No’ to Nazism

On October 15, 1943, they came to get her, accompanied by a German soldier who had taken up the cause, while she was in hospital with jaundice.

“I escaped in my nightdress,” she laughs.

Once recovered, she campaigned under false identities until the liberation in the summer of 1944.

After the war, she married Lucien Volle, another Resistance fighter who had taken part in the liberation of Le Puy-en-Velay.

Together, the couple began to devote themselves to the work of remembrance.

“We fought constantly to explain. Not what we had done but why we had done it,” she says.

She has since been awarded a number of decorations, including the Legion d’Honneur.

“I didn’t do much,” she says. “But I did say ‘no’ to Nazism.”

Worried again about the return of extremes in Europe, Berger-Volle hopes that young people will in turn be able to defend democracy.

And despite her advanced age, she intends to use the Olympics to get her message across.

“I wanted to change the world,” she says with a smile. “And I still want to change it.”

Member comments

  1. What an amazing woman! Thanks for this article, it’s so important to remember the work and sacrifices those from her generation made so that we can live in a peaceful Europe.

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CULTURE

Why is the Mona Lisa so famous (and why is it even in France)?

Being lauded as either the greatest artwork in the world or the most overrated tourist attraction in France, Leonardo da Vinci's Mona Lisa does not struggle to get attention. But why is this small portrait so famous?

Why is the Mona Lisa so famous (and why is it even in France)?

Paris’ Louvre museum has recently announced that the Mona Lisa painting is to get its own room, a move that is at least partly in reaction to increasing complaints about the artwork being overrated, while tourists struggle to see it in the small, crowded space.

There aren’t many paintings that get a room of their own, so just what is it about Mona Lisa (or La Joconde as she is known in France) that attracts so many millions of tourists each year – and should you bother going to see her?

Why is it in France?

Let’s start with why the painting is in France in the first place, since both painter and subject are Italian (although Italy at that time was still a collection of city states which would not be unified into the modern country until 1861). 

In short, Mona Lisa is in France because her creator Leonardo da Vinci travelled with her, and he was in France when he died in 1519. The reason that he was in France is that he spent the last years of his life working on special commissions for king François I. He died at the Château du Clos Lucé in Amboise, in France’s Loire Valley. 

Upon his death Mona Lisa was taken into the French royal collection and various descendants of François I hung her in their palaces until the French Revolution happened in 1793.

After the Revolution, with the exception of a brief stint in Napoleon’s palace, the painting entered the collection of the newly-created Louvre gallery which – in the spirit of revolutionary equality – was opened up to the people so that they too could enjoy great art.

Various requests over the years – some polite, others less so – from Italy to return the painting have been firmly declined by the French state. 

When did it get famous?

In the 18th and 19th centuries Leonardo’s painting was a popular exhibit among museum visitors, but didn’t have any particular fame and wasn’t regarded as any more special than the numerous other artworks exhibited there.

Although some academic interest in the painting’s subject – most commonly thought to be Lisa Gherardini, wife of the Florentine merchant Francesco del Giocondo – stirred in the 19th century, her real fame didn’t arrive until 1911.

This is when the painting was stolen from the Louvre, a crime that became a sensation and a cause celèbre in France, even more so when the painting was finally found in 1913 after the thief had attempted to sell it in Italy.

The fame of the painting and the crime inspired contemporary artists such as Marcel Duchamp who created a playful reproduction of Mona Lisa (complete with beard and moustache) which in turn enhanced the painting’s recognition. The artistic trend continued with everyone from Andy Warhol to the ubiquitous student posters of Mona Lisa smoking a joint.

Former chairman of the French Communist Party Robert Hue views moustachioed Mona Lisa by dadaist painter Marcel Duchamp, lent out by his party for the first time for an exhibition in January 2002. Photo by NICOLAS ASFOURI / AFP

A tour of the painting to the US in 1963 and to Japan in 1974 further enhanced the celebrity status.

21st century

These days it’s perhaps accurate to say that the painting is simply famous because it’s famous. As the best-known piece of art in the world it’s automatically on many tourists’ ‘must see’ list when they come to Paris – and a lot of tourists come to Paris (roughly 44 million per year).

Meanwhile the Louvre is the most-visited museum in the world, attracting roughly 9 million visitors a year.

Although some visitors find the painting itself disappointing (it’s very small, just 77cm by 53cm) the most common complaint is that the room is too crowded – many people report that it’s so jammed with visitors that it’s hard to even see the picture never mind spend time contemplating the artwork.

Should I go and see it?

It really depends on what you like – if your taste in art is firmly in the more modern camp then you probably won’t find that this painting particularly speaks to you. You will, however, find a lot in Paris that is much more to your taste, running from the Musée d’Orsay (mostly art created between 1848 and 1914) to the Pompidou Centre (featuring contemporary and experimental art) and much, much more.

If, however, Renaissance art is your bag then you’ll struggle to find a finer example of it than Mona Lisa, with her beautiful brushwork, detailed and intriguing background and realistic presentation.

If you do decide to visit, then be prepared for the gallery to be crowded – the Louvre now operates on a pre-booking basis but even having a pre-booked ticket won’t save you from the crowds.

If possible try to avoid the summer and school holidays and prioritise weekdays over weekends – the early morning or late evening slots tend to be a little quieter than others, but you’re going to have to be prepared to share her with many other art-lovers.

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