Quotidian scenes of Paris along the quays beside the River Seine. Fishing, snoozing, cutting hair, washing clothes. Lovers embrace as nuns gaze. Students sketch, models pose. A diver ... See full summary »
This film travels through fantasy and reality as Ivens goes to China to capture the Wind. The film reflects the film maker's journey - from his first film on the wind (Pour Le Mistral)to ... See full summary »
At the end of WW2, (some of the participants are in military uniforms) support for Dutch colonists, battling the Indonesian Independence movement, was a divisive issue and many Australian Unions declared black Dutch ships in Australian ports, which were claimed to be carrying armaments and troops to the Dutch.
The film show Indonesians, who had been living in Australia during the Japanese occupation, concerts and trade union support and a meeting address by union leader Jim Healey.
By this time, Ivens was a practiced hand and the film has a professionalism missing from the subsequent Waterside Workers Film Unit productions, made in emulation of his style by local crews. Chasing the break-away ship, manned by an Indian crew, with a launch of loud hailer protesters is a passable action high light.
Already, Peter Finch was a serious contender and his reading of the commentary sets a bench mark for these.
In the Cold War, participation in this venture was to prove an embarrassment to a number of the makers.
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