6.1/10
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1 user 1 critic

Too Early/Too Late (1982)

Trop tôt/Trop tard (original title)

Writers:

(texts: "Letter to Karl Kautsky" and "The Paesant Question in France and Germany"), (text: "La lutte de classe en Egypte de 1945 à 1968")
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Cast

Cast overview:
Danièle Huillet ...
Narrator (segment A) (voice)
Bahgat Elnadi ...
Narrator (segment B) (voice) (as Bahgat el Nadi)
Gérard Samaan ...
Narrator (segment B) (voice)
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Storyline

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Genres:

Documentary

Certificate:

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Details

Country:

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Language:

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Release Date:

17 February 1982 (France)  »

Also Known As:

Cedo Demais/Tarde Demais  »

Filming Locations:

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Company Credits

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Technical Specs

Runtime:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The basis for the film consists of two texts: a letter sent by Friedrich Engels to his disciple Karl Kautsky, and Egyptian intellectual Mahmoud Hussein's "Class Struggles in Egypt". At the center of each text is a discussion of the people's relationship to the land. What Straub and Huillet have done is to film the specific places mentioned in each text: for the Engels section we see shots of Paris, Mottreff, Lyon, and Harville; for the Hussein section we see the area around Cairo; and these shots are synced with a voice-over reading of the texts. See more »

Connections

Edited into Kommunisten (2014) See more »

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User Reviews

 
Patience, conscience, and beauty
15 March 2004 | by See all my reviews

Featuring a justly infamous, even startling opening sequence with a tilted camera pointed out the window of a moving car that keeps driving and driving around a famous traffic circle (forget the name) in Paris for 10 odd minute

  • a continual 360 that never catches a glimpse of its axis, too perfect -


TOO EARLY, TOO LATE is a singular meditation and extended visual metaphor on the theme of revolution (get it??) shot in a variety of locations and cities with a Marxist voice-over reading from famous selections on the subject. Quite unlike anything else you'll see and while obviously not what you'd call entertainment, some of the shooting once you get outside the city is breathtakingly beautiful. Are they trying to implicate us in this collective indifference to social ills by growing absorbed in the natural beauty of the surroundings? I'm not sure, but certainly Straub/Huillet's subtle avant-garde combo filmwork is among the most underappreciated in German and, indeed, international cinema.


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