Synopsis:
In May of 1962 — after the end of an eight-year war with Algeria — an assortment of Parisians are interviewed about their views on life, happiness, society, and current politics.

Genres, Themes, Actors, and Directors:

• Documentary
• French Films

Review:
French filmmaker Chris Marker (nee: Christian Hippolyte François Georges Bouche-Villeneuve) co-directed — with DP Pierre Lhomme — this snapshot of Parisians’ impressions of the (supposed) first “lovely month of May” in eight years since the beginning of the Algerian war (which led to Algeria’s independence from France after more than 100 years of colonial rule). Marker considered this movie to be a form of “direct cinema” (rather than cinéma vérité), given that he was intentional in many of the people he selected to interview — including the inventor below, who says, “Luck plays a big part in life — but the best luck is hands; they’re the best capital you can have” (as the camera occasionally pans to a spider crawling along his coat).

After collecting 55 hours of footage, the resulting ~2.5 hour film — with participants’ interviews left as uninterrupted as possible — was divided into two parts: “A Prayer from the Eiffel Tower” (mostly about everyday life and love) and “The Return of Fantomas” (looking more closely at reactions to the situation in Algeria). Notable instances in the first section include, as described by Margarita Landazuri in TCM’s article, “a suit salesman”:

… “a mother of nine children”:

… “a group of stockbrokers concerned about how the Algerian situation is affecting the market”:

… “children examining a museum display of John Glenn’s space capsule”:

… and “a blissfully in love young couple unconcerned about anything but their own happiness.”

In the second half, “Among those interviewed are an African student” (from Dahomey):

… “and a young Algerian worker who discuss French racism”:

… “and a communist priest who chose his political convictions over his church.”

Notably, however, “there’s also an eccentric young woman who designs costumes for her cat, saying she does so to escape from those dead things that crush you.”

The kind of rhyme or reason you make of all this will likely vary — but regardless, as Landazuri points out, the footage “seems prescient about the political upheavals of the 1960s and beyond, including Paris in 1968.” Note that two versions exist: one narrated in English by Simone Signoret (though there are still subtitles throughout for participants) and one in French by Yves Montand.

Notable Performances, Qualities, and Moments:

• Fine “direct cinema” footage of daily life in Paris
  
• Several quirky interludes
  
• Michel Legrand’s score

Must See?
Yes, for its historical relevance.

Categories

• Historically Relevant

Links:

• IMDb entry
• TCM Article
• DVD Savant Review