The Return of Martin Guerre is a genuine historical mystery. The film is based on real events that occurred in the village of Artigat in southern France in the mid-16th century, but the story remains incomplete and uncertain because of the absence of historical information. Crucial parts of the narrative are forever unknowable, as they were to contemporaries who lived through the events. The imagination of film and history attempts to fill this void.

The film opens with a horseman riding into the village--apparently the “return” alluded to in the title. In flashback, the film shows a Catholic marriage ceremony as Martin Guerre and Bertrande de Rols take their vows. Bertrande has brought a modest dowry to the marriage, indicating that they own small amounts of property. Their families accompany them to their marriage bed, which is in Martin’s family house. The young bride and groom are shy and modest.

The movie flashes forward to a conversation between Bertrande and a civil judge, Jean de Coras, who interrogates her about her married life. She acknowledges that Martin had difficulty performing his sexual role, saying he had been cast under a spell, but she maintains her loyalty to him. As she describes villagers making fun of the childless couple, the film flashes back to a medieval ritual, known as charivari, in which young men dressed in masks and animal skins and brandishing noisy household utensils humiliate Martin for his marital shortcomings.

Continuing the conversation, Bertrade describes a ceremony that lifted the spell. But Martin showed no interest in their son, didn’t like farming, and quarreled with his father. In flashback, Martin’s father accuses him of stealing grain. That night, Martin departs without explanation and does not return. Bertrande insists to the judge that she kept her virtue in his absence.

The movie shifts back to the “return” of Martin Guerre (played by Gerard Depardieu) eight years after he departed. In a reunion scene with his family and the villagers, Martin explains that he has been soldiering in the French army. He is larger than some remember, and he has learned to read and write. He tells stories of his travels to Spain and Paris, where none of them has been. The peasants reconnect with him through explicit memories of the past. Back in conversation with the judge, Bertrande recalls this happy reunion. She explains that Martin resumed his place in the family and village. They had two more children, one of whom had died.

Bertrande also recalls that passing travelers who met her husband denied he was Martin Guerre and called him “Pansette,” a man they knew from another village. They said Martin had lost a leg in battle at Saint Quentin. The scene appears in flashback. We also listen as Martin tells his family about the “Brazilians” he has met in his travels, observing that sometimes their women rule the men. To which a peasant man responds, “The day women rule here it will be the end of the world.”

While working with his uncle Pierre, Martin mentions one day that he wants an accounting of the farm’s profits during his absence. Angered by the request, Pierre criticizes Martin’s lack of respect for family-owned lands. The uncle lures Martin into an ambush by his sons, who beat him and threaten to kill him. Bertrande interposes her body and stops the assault. Pierre accuses Martin of being an imposter of his nephew.

Speaking again to the jurist Coras, Bertrande admits that she initially had doubts about Martin’s identity. But now, she has no doubt that he is her husband. The local court questions Martin and Pierre. The court also polls the villagers, whose opinions about Martin’s identity are divided. The court orders Martin’s release and fines Pierre for raising false charges. Upon Martin’s return home, Bertrande washes his feet and takes him into their bed.

Soon afterward, Martin is rearrested, based on a complaint signed by Pierre and Bertrande. Martin is taken to the court of appeals, or “parlement,” in Toulouse. Martin insists he is who he says he is and that his wife was intimidated by Pierre to sign the accusation.

The parlement holds another round of interrogations. Martin’s testimony is impressive, showing that he knows exact details of Bertrande’s wedding dowry. But two men testify that he is Pansette, whose real name is Arnaud from the village of Tilh. Martin says his accusers are under the influence of Pierre. Others testify to the court on both sides. The judge declares that a person is innocent if guilt is not proven.

The court starts to announce that Martin is to be released, but is interrupted by the arrival of a new witness. The newcomer walks on a wooden leg and announces that he is the real Martin Guerre. The two Martins trade accusations, but finally the Martin who has been posing as Bertrande’s husband is caught in a lie. Bertrande turns to the newcomer, saying, “Forgive me, Martin,” but the real husband remains angry.

Thwarted by her gesture, the imposter Arnaud confesses his guilt and is sentenced to death for stealing another man’s identity. To the inquiring judge, both Arnaud and Bertrande admit that they have fallen in love. “Arnaud and I were good together,” says Bertrande. The movie ends with his execution.

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