With minimal narration by the director and very little context this is a kaleidoscope of stunning visuals from Calcutta, a city of 8,000,000 in the late 1960's: rich and poor, exotic and ... See full summary »
After acknowledging his own immigrant background, Malle, tries to present the range of immigrant experiences in the US during the 1980's. In an attempt to be comprehensive, the film ... See full summary »
Anastasio Samosa Portocarrero
In Paris around 1900, Georges Randal is brought up by his wealthy uncle, who steals his inheritance. Georges hopes to marry his cousin Charlotte, but his uncle arranges for her to marry a ... See full summary »
Alain Leroy is having a course of treatment in a private hospital because of his problem with alcohol. Although he is constantly distressed, he leaves the hospital and tries to meet good ... See full summary »
Original footage of the prosperous farming community of Glencoe Minnesota, 60 miles west of Minneapolis, was filmed in 1979 for a PBS documentary. But for the next six years Malle was too ... See full summary »
This pioneering nature documentary investigates aquatic habitats in various locations around the world. It doesn't shy away from the brutality present in the natural world, but it also ... See full summary »
Like Vanya, in Malle's last film, Milou never left the family estate. His mother dies during the May 1968 student uprising in Paris. The brother who is the London correspondent for Le Monde... See full summary »
This documentary is an interesting look at the people who work on the assembly lines of French automobile factories.
To the credit of cinematographer Etienne Becker and director Louis Malle, several details of the assembly line, the input of each worker, the body movements (lilt of a heel or the pouting of lips) are captured honestly and seemingly unobtrusively. To Malle's credit, the sound is limited to production sound--the workers seem to be mute. Voices invade the film once during the segment on the sale of the cars to customers at a car show.
Malle's film, screened as part of a Malle retrospective at the 11th International Film Festival of Kerala, is a veiled comment on automation and its effects on people. The film ends with a frozen shot of a woman worker absorbed in the life within the factory. The life outside seems to be deliberately snipped off--but we know it exists. Malle was probably stating that human beings are getting to be dehumanized and living the life of "an assembly line." That said, the film could have said the same things in a third of the total run-time. Compare Malle's film to Bert Hanstra's documentary on glass blowers called "Glas" (1958). Made 16 years before "Humain, trop humain", Bert Haanstra's work, which uses music, is far superior to this one on a somewhat similar subject.
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