The first segment, titled Antoine et Colette is by François Truffaut (France) and returns actor Jean-Pierre Léaud to the role of Antoine Doinel, a role he played three years earlier in The 400 Blows and would return to again in 1968 (Stolen Kisses), 1970 ( Bed and Board) and 1979 ( Love on the Run_). It concerns the frustrations of love for the now 17-year old Doinel and the unresponsive girl he adores. The second segment, the directorial debut of 21-year old Renzo Rossellini (Italy), son of Roberto Rossellini and later a noted producer himself, tells the story of a tough mistress who loses her lover to an older, wealthier and more-appreciative woman. The third, by Japanese film director Shintarō Ishihara is described as a “weird, grotesque” and “clumsy” tale of obsessive and morbid love. Fourth is Marcel Ophüls (Germany) with a “charming, but somewhat sentimental” story of an unwed mother who contrives to trap the father of her baby. Finally the fifth segment, by Andrzej Wajda (Poland) entitled Warszawa depicts a brief intergenerational liaison based upon multiple misunderstandings. The episodes are tied together with still photos by Henri Cartier-Bresson and a wistful Jazz soundtrack by Georges Delerue. —wikipedia
Marcel Ophüls (born November 1, 1927) is a documentary film maker and former actor. He was born in Frankfurt, Germany, the son of the director Max Ophüls. He became a naturalized citizen of the United States in 1950.
The son of director Max Ophüls, Marcel had a peripatetic childhood, which commentators have suggested facilitated his objective documentary accounts of the French national psyche. After education at Hollywood High while his father worked for the studios during the 1940s, Marcel served with the US occupying forces in Japan. When the family returned to Paris in 1950 Marcel became an assistant to Julien Duvivier and Anatole Litvak, and worked on John Huston’s Moulin Rouge (1952) and his father’s Lola Montès (1955). Through François Truffaut, Ophüls got to direct an episode of the portmanteau film Love At Twenty (1962). There followed the commercial hit Banana Peel (1964), a detective film starring Jeanne Moreau and Jean-Paul Belmondo.
With a slump in box-office… read more
The product of an unhappy, loveless home, Truffaut began using films to escape the exigencies of reality at age seven, virtually living in various Parisian movie houses. He left school to go to work at 14, and, one year later, founded a film club, which brought him to the attention of influential cinema critic Andre Bazin. Over the next few years, Bazin both financed and protected Truffaut. In 1953, Bazin hired Truffaut as a critic/essayist for Cahiers du Cinema. It was in the January 1954 edition that Truffaut published his landmark essay “A Certain Tendency in the French Cinema,” in which he attacked directors who merely ground out films without any personal cinematic vision; he also propounded the auteur theory, which opined that the only directors worth serious consideration were those who left their own individual signatures on each of their films. Truffaut noted that writing critiques enabled him to understand why he loved films and to rationalize his reasons for liking them… read more
Like John Ford and Roberto Rossellini, Andrzej Wajda was anointed from his arrival on the world stage as the official film-maker of his country; the artist whose works best interpreted the dynamic changes of his nation’s history. Born in 1926 to an army officer and a school teacher, Wajda’s family was progressive in matters of culture and education. As it would for many young men of his generation, Wajda’s life was permanently altered by the Nazi Invasion of Poland in 1939; the event which marked the official start of the Second World War. Wajda went into hiding with his mother while his father was drafted into active duty. It was only in 1989 that Wajda received confirmation that his father was murdered in the Katyn Forest Massacre; an event which informed his 2007 film Katyn.
After the war, Wajda studied painting at the Kraków School of Fine Arts. However, Wajda became restless with his chosen medium and became inspired by reports of the formation of the National Film School… read more
Por encima del marco amoroso, son las proyecciones personales en cada director las que hacen interesante al filme. Es por esto mismo que las historias de Ophuls y Rossellini son los menos logrados al promover ideas superficiales que se focalizan en la mera idea de contemplar el conflicto amoroso. En la historia de Wajda son los rezagos de una guerra, similar en la de Ishihara. Truffaut es sobre la orfandad.
what's wrong? why is this film listed as directed by Renzo Rossellini, Shintaro Ishihara, Marcel Ophüls, François Truffaut, Andrzej Wajda ??