The film dramatizes about a dozen vignettes from the life of St. Francis and his early followers - starting with their return in the rain to Rivotorlo from Rome when the Pope blessed their ... See full summary »
A barber, murderer because of jealousy, spends twenty years in jail. He cannot, however adjust himself to a changed world and to the hypocracy of his own relatives and decides to return ... See full summary »
Irene Girard is an ambassador's wife and used to always live in luxury. After the dramatic death of her son, she feels guilty of having neglected him and feels compelled to help people in ... See full summary »
A French/Italian co-production with two episodes from Italy and five from France covering the seven deadly sins---actually eight as two of the sins are covered in one episode while a new "... See full summary »
When faced with death, the general belief is that when a man dies, his life doesn't end, because he's reincarnated in another. But no one knows in whom. Therefore, all men are brothers.
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Perhaps it was the incredibly washed-out, virtually monochrome print. Perhaps it was the non-stop painful soundtrack of bird noises. Perhaps it was the overbearing, condescending ceaseless narration.
But mostly this supposed masterpiece reminded me of schoolroom educational films. The camera work is not particularly great; we learn little about actual (as opposed to staged) life in India; though closely immersed in local settings, there is virtually no geographic, historic or temporal overview to guide us; and the staged sequences come across as forced and distancing, most alarmingly with the monkey sequence at the end (it verges on flat out cruelty). Other sections have sudden and jarring outcomes that work entirely against the drawn-outness of the rest.
I can't think of a film that has aged less well than this basic documentary. Just because it's by a master doesn't make it a masterpiece. And yes, I watched it closely, understood its structure and themes and so forth. There are good sequences in the film (the elephant logging and dam building in particular evoke a clearly dichotomous relationship with nature) but it could have been well-trimmed, better contextualized, and shorn of its irritating narration.
What we have here is an outsider's, deastheticized, desaturated, scattershot, only slightly empathetic view of India. Let the images speak! And, most of all, let the Indians speak for themselves. It's taken 50 years to realize we should give them the cameras (Born into Brothels comes to mind.)
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