Word: lelouch
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...doesn't make any difference." Decked out as a Hopi Indian in headband, feathers and bear-claw necklace, Jean-Paul Belmondo probably created more of a spectacle in Tucson than he would have in Greenwich Village. In the film, Again, a Love Story, with Oscar-winning Director Claude Lelouch (A Man and a Woman), the Hopi bit is just a brief diversion in the adventures of Belmondo and Annie Girardot, who meet and mate as two French tourists motoring across America. "I chose Girardot and Belmondo," said Lelouch, "because they are not really made for each other. If there...
...collage of footage by six left-wing French directors, including Jean-Luc Godard, Alain Resnais and Claude Lelouch, Viet Nam piously begins by disclaiming any prejudice. It is, says the narrator, "an indictment of American foreign policy, not Americans." But the Americans on camera are treated with savage contempt. General Westmoreland's address to Congress is shown on color TV while someone fiddles with the color and intensity. Hubert Humphrey utters an optimistic appraisal of Europe as "Humphrey, Go Home!" signs parade past the camera...
...stagehands running around with large strips of colored paper; the bossa nova singing exhusband becomes a pudgy Hawaiian who falls down a flight of stairs to his death. All this is fine but somewhere from the background comes a gnawing feeling that the conception owes too much to Lelouch--that Bartlett didn't really have much...
...Claude Lelouch, the director, somehow lost the simplicity and straightforwardness that made such a wonderful film of his A Man and a Woman. The directing is still there: the freshness and unpretentiousness of home-movies comes through in the acting, as, unfortunately, it does in the editing. A Man and a Woman flowed; each episode followed the one before it smoothly. In Live for Life, the documentary sequences chop up the story, and though Lelouch has tried to fashion a rope, all we get is a few strands loosely wound together. The story itself stops and starts like a temperamental...
...give his slow story some contrapuntal rhythm and social significance, Lelouch cuts from shots of the triangle (filmed in Technicolor), to monochromatic scenes of conflict in Africa and Asia, presumably covered by the hero. The vulgar-cliche style of these sequences can only be described in Nabokov's term, "poshlost." The reporter self-righteously editorializes: "The Nazis tortured because of a guilty conscience from oppressing Europe during the war . . . In Viet Nam, the U.S. is in the same situation ..." Meanwhile the horrors of battle are shown in pictures as stilted as window displays, the blood stylistically spattered...