Average Reviews:
(More customer reviews)This collection is really terrific -- definitely one to buy, rather than rent. (For one thing, the total run time is something like 13 hours.)
The first full-length film in the set (it also includes a fun short about the Tour de France) is a subtle, quietly thought-provoking take on the dehumanizing effects of industrialization. Wait -- that sounded pretentious. It's a movie about factory work. And it's brilliant. It's tedious in spots, to be sure, but that tedium is an essential part of the way the film works. Many of the scenes are initially intriguing, then boring, and finally horrifying; the workers appear to have become clockwork components of the assembly line's machinery. I physically ached when this film was over.
The second one, "Place de la Republique," was my least favorite, perhaps because experiments like Malle's (hanging out for ten days at a busy intersection interviewing people at random) have been repeated so many times since he made this movie . . . but even this one had many surprising moments and insights, and it's fun to get such a detailed look at the Paris of the early seventies.
"Phantom India" is the masterpiece of the set. A lot of people expected this to be released separately, in the standard overstuffed and overpriced Criterion package, but the people at Criterion have thrown us poor folk a bone and included it in the "bargain" Eclipse set. Oh, boy -- this movie is just awesome: a hypnotic, totally engrossing portrait of the most deliciously weird -- and relentlessly "contradictory" -- country on Earth. There are so many highlights here. Two early scenes -- at a dance school, and at a temple festival -- were so breathtaking that I actually had to rewind an hour and watch them again before moving on.
One caveat: the sound quality is terrible for the first half-hour or so. (Apparently, the original elements were so damaged that the restorers couldn't perfect some of the audio.) If the buzz and hiss of the first few scenes is driving you crazy: trust me, it gets much better.
If "Phantom India" was full of surprises, its sister film, "Calcutta," was not; it's more or less what I imagined "Phantom India" would be like: a beautiful, thoughtful, very serious film about poverty and human misery, man's inhumanity to man, etc. It's really good -- but in 2007, these kinds of images of suffering have become so ubiquitous that they've lost some of their power to shock (which is obviously a sad statement). My favorite parts of "Calcutta," then, were the other moments: the singing and dancing, the wrestling in the park, the religious festivals.
Malle's last two docs -- "God's Country" and the unfortunately titled ". . . and the Pursuit of Happiness" -- were shot in Malle's adopted home, the U.S.; both are quite warm and humane, resisting caricature. In fact, there were times when I felt Malle was going too easy on the folksy Minnesotans of "God's Country" -- but every time I had this thought, Malle came through with a challenging interview question, exposing the homophobia, racism and anti-Semitism of this isolated farm community. He never does this in a shrill, reductive, predictable, or demeaning way, however; in the end, it's not just his affection, but also his sincere respect for his subjects that comes across.
Malle is one of the most underrated filmmakers of all time, I think. He's praised -- and was praised throughout his career -- but not enough, especially when you consider how his critical reputation compares to that of directors like Resnais, Truffaut and Godard.
Malle's reputation may actually be a victim of the director's own versatility. Instead of carving out his own niche, repeating the same exercise again and again and again, he tried jarringly new projects throughout his career, usually pulling them off with dazzling success. You'd never know, unless you were told, that "Elevator to the Gallows," "Zazie on the Metro," "Lacombe, Lucien," "Atlantic City," "My Dinner with Andre," "Goodbye, Children," "Damage" and "Vanya on 42nd Street" (to name just eight of his best movies -- there are many more) were the work of the same filmmaker. And all of the movies I just named are so wonderful, so assured; you never sense that Malle is stretching.
This set -- along with the DVD release (soon, I hope) of his Palme D'Or- and Oscar-winning collaboration with Jacques Cousteau, "The Silent World" -- may make it impossible, finally, for anyone to get away with denying Malle's greatness. What a body of work this guy left behind.
Click Here to see more reviews about: Eclipse Series 2: The Documentaries of Louis Malle (The Criterion Collection) (1971)
Over the course of a nearly forty-year career, Louis Malle forged a reputation as one of the world's most versatile cinematic storytellers, with such widely acclaimed, and wide-ranging, masterpieces as Elevator to the Gallows, My Dinner with Andre, and Au revoir les enfants. At the same time, however, with less fanfare, Malle was creating a parallel, even more personal body of work as a documentary filmmaker. With the discerning eye of a true artist and the investigatory skills of a great journalist, Malle takes us from his French homeland to India to the United States, in some of the most engaging and fascinating nonfiction films ever made. Six Disc Set Includes: Vive Le Tour Humain, Trop Humain Place de la Republique An energetic evocation of the Tour de France, a meditative investigation of the inner workings of a French automotive plant, and an entertaining snapshot of the comings and goings on one street corner in Paris - Louis Malle's three French-set documentaries reveal, in an eclectic array of ways, the director's eternal facination with and respect for, the everyday lives of everyday people. Phantom India Malle called his gorgeous and groundbreaking Phantom India the most personal film of his career.And this extraordinary journey to India, originally shown as a miniseries on European television, is infused with his sense of discovery, as well as occasional outrage, intrigue, and joy.Calcutta When he was cutting Phantom India, Malle found that the footage shot in Calcutta was so diverse, intense, and unforgettable that it deserved its own film.The result, released theatrically, is at times shocking - a chaotic portrait of a city engulfed in social and political turmoil, edging ever closer to oblivion.God's Country In 1979, Louis Malle traveled into the heart of Minnesota to capture the everyday lives of the men and women in a prosperous farming community.Six years later, during Ronald Reagan's second term, he returned to find drastic economic decline.Free of stereotypes about America's "heartland," God's Country, commissioned for American public television, is a stunning work of emotional and political clarity. ...And the Pursuit of Happiness In 1986, Malle, himself a transplant in the United States, set out to investigate the ever widening range of immigrant experience in America.Interviewing a variety of newcomers (from teachers to astronauts to doctors) in middle-and working-class communities from coast to coast, Malle paints a generous, humane portrait of their individual struggles in an increasingly polyglot nation.
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