Word: truffauts
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...Francois Truffaut's French segment is the one almost common tale of the five, and it is told with delicacy if not warmth. A young factory worker falls in love with a girl he meets at concerts, but he never succeeds in transforming their relationship from one of copains to amants...
Perhaps the reason Truffaut does not quite achieve the pathos he strives for is the fact his camera views an almost too ordinary world. Every aspect of the shy factory boy is so faithfully depicted that it seems natural his love will be unanswered. Only in the movies would such romance succeed...
...Truffaut is too common, Director Shintario Ishihara is shockingly removed from normal experience in his Japanese segment. A Japanese factory worker this time is unable to make contact with the girl student he secretly loves and eventually kills her, achieving intimacy with his love object only after totally conquering...
...Ophuls, the one from Japan by Novelist Shintaro ("The Japanese Franç01s Sagan") Ishihara, the one from Poland by Andrzej (Ashes and Diamonds) Wajda. Wajda's work is keen and sardonic, but the episode from France, directed by François (Jules and Jim) Truffaut, makes the other three look sick sick sick. It is cruel, touching, funny. It is true to life at an age when life is true to art. It is Gallic Salinger, the case history of a growing pain...
...pocket (curiously, two hands are never in one pocket, nor is one hand ever in two pockets). He may or may not be following the woman-it is almost impossible to tell because he, like she, seems in no hurry. The director (Michelangelo Antonioni? Alain Resnais? Federico Fellini? Francois Truffaut?) is definitely in no hurry. The movie (La Notte? L'Av-ventura? La Dolce Vita? Hiroshima, Mon Amour?) is 50 minutes long already, and still the woman is walking, the man is walking, and the only real involvement anywhere is occurring among people, who are not walking but sitting...