gri_2003_m_46_b06_f02_005

Max. dissimilarity: 0.099
Mean dissimilarity: 0.069
Image votes: 0.0

Transcribers

72204033 - Zooniverse2017
72581001 - Preacher357
72586070 - Salwell
73098764 - Chris5420
73444796 - altheist
WINNER - 73641296 - jesseytucker

72204033 - Zooniverse2017

Les Jeux Interdits has been described as harrowing. I can
see how people get this impression but it is not relevant
reaction to the film. Death is conceived as a serious matter
by most people and this leads, in England and America particularly,
to a solemnity concerning it. The French, however, can make
excellent jokes about it, as in L'Armoire Volante. I should
describe Les Jeux Interdits as an idyll. Death governs the
action of the film, but as an exquisite game. Though it is ob-
vious to an adult audience that the enchantment of the children's
game cannot last indefinitely, there is little hint of menace
as the adult world infringes on their play. On the contrary, there
is an extension of implication outwards from the children's act-
ions. Innocence is made the vehicle of satire of religion,
the official form of death: from Paulette's prayers as she
buries the dog to the grubby hands groping for the altar-cross,
the mockery is unmistakable. Lyricism and pathos, reminiscent
of Poil de Garrotte, is strong, of course, but the sound French
tradition of anti-clericalism operates in Les Jeux Interdits.
The power of these children to subvert - unconsciously in the
case of Paulette, mischievously in the case of Michel, who is
older - the French Republic sets to spare an audience's feelings
from the physical facts of death. The spell of Paulette's and
Michel's world, in which death is displaced from reality to
play, is lyrically expressed - whispered words at night, gifts,
thefts (a realistic version of attitudes expressed in Cocteau's
Les Enfants Terribles, despite the differences in age between

72581001 - Preacher357

Les Jeux Interdits has been described as harrowing. I can
see how people get this impression ut it is not the relevant
reaction to the film. Death is conceived as a serious matter
by most people and this leads, in England and America particularly,
to a solemnity concerning it. The French, however, can make
excellent jokes about it, as in L'Armoire Volante. I should
describe Les Jeux Intardits as an idyll. Death governs the
action of the film, but as an exquisite game. Though it is ob-
vious to an adult audience that the enchantment of the children's
game cannot last indefinitely, there is little hint of menace
as the adult world infringes on their play. On the contrary, there
is an extension of implication outwords from the children's act-
ions. Innocence is made the vehicle of satire of religion,
the official form of death: from Paulette's prayers as she
burines the dog to the grubby hand groping for the altar-cross,
the mockery in unmistakable. Lyricism and pathos, reminiscent
of Poil de Carrotte, is strong, of course, but the sound French
tradition of anti-clericalism operates in Lee Jeux Interdits.
The power of these children to subvert - unconsciously in the
case of Paulette, mischievously in the case of Michel, who in
older - the French Republic acts to spare an audience's feelings
from the physical facts of death. The spell of Paulette's and
Michel's world, in which death is displaced from reality to
play, is lyrically expressed - whispered words at night, gifts,
thefts (a realistic version of attitudes expressed in Cocteau's
Les Enfants Terribles, despite the difference in age between

72586070 - Salwell

Les Jeux Interdits has been described as harrowing. I can
see how people get this impression but it is not the relevant
reaction to the film. Death is conceived as a serious matter
by most people and this leads, in England and America particularly,
to solemnity concerning it. The French, however, can make
excellent jokes about it, as in L"Armoire Volante. I should
describe Les Jeux Interdits as an idyll. Death governs the
action of the film, but as an exquisite game. Though it is ob-
vious to an adult audience that the enchantment of the children's
game cannot last indefinitely, there is little hint of menace
as the adult world infringes on the play. On the contrary, there
is an extension of implication outwards from the children's act-
ions. Innocence is made the vehicle of satire of religion,
the official form of death: from Paulette's prayers as she
buries the dog to the grubby hand groping for the altar-cross,
the mockery is unmistakable. Lyricism and pathos, reminiscent
of Poil de Carrotte, is strong, of course, but the sound French
tradition of anti-clericalism operates in Les Jeux Interdits.
The power of these children to subvert - unconsciously in the
case of Paulette, mischievously in the case of Michel, who is
older - the French Republic acts to spare the audience's feelings
from the physical facts of death. The spell of Paulette's and
Michel's world, in which death is displaced from reality to
play, is lyrically expressed - whispered words at night, gifts,
thefts (a realistic versions of attitudes expressed in Cocteau's
Les Enfants Terribles, despite the differences in age between

73098764 - Chris5420

Les Jeux Interdits has been described as harrowing. I can see how people get this impression but it is not the relevant reaction to the film. Death is conceived as a serious matter by most people and this leads, in England and America paticularly, to a solemnity concerning it. The French, however, can make excellent jokes about it, as in L' Armoire Volante. I should describe Les Jeux Interdits as an idyll. Death governs the action of the fils, but as an exquisite game. Though it is ob-vious to an adult audience that the enchantment of the children's game cannot last indefinitely, there is little hint of menace as the adult world infringes on that play. On the contrary, there is an extension of implication outwards from the children's act-ions. Innocence is made the vehicle of satire of religion, the official form of death: from Paulette's prayers as she buries the dog to the grubby hand groping for the altar-cross,
the mockery is unmistakable. Lyrisism and pathos, reminiscent of Poil de Carrotte, is strong, of course, but the sound French tradition of anti-clericalism operates in Les Jeux Interdits.
The power of these children to subvert - unconciously in the case of Paulette, mischievously in the case of Michel, who is older - the French Republic acts to spare an audience's feelings from the physical facts of death. The spell of Paulette's and Michel's world, in which death is displaced from reality to play, is lyrically expressed - whispered words at night, gifts, thefts (a realistic version of attitudes' expressed in Cocteau's Les Enfants Terribles, despite the difference in age between

73444796 - altheist

Les Jeux Interdits has been described as harrowing. I can see how people get this impression bu it is not the relevant reaction to the film. Death is conceived as a serious matter by most people and this leads, in England and America particularly, to a solemnity concerning it. The French, however, can make excellent jokes about it, as in L'Armeoire Volante. I should describe Les Jeux Interdits as an idyll. Death governs the action of the film, but as an exquisite game. Though it is obvious to an adult audience that the enchantment of the children's game cannot last indefinitely, there is little hint of menace as the adult world infringes on their play. On the contrary, there is an extension of implication outwards from the children's actions. Innocence is made the vehicle of satire of religion, the official form of death: from Paulette's prayers as she buries the dog to the grubby hand groping for the after-cross, the mockery is unmistakable. Lyricism and pathos, reminiscent of Poil de Garrotte, is strong, of course, but the sound of French tradition of anti-clericalism operates in Les Jeux Interdits. The power of these children to subvert - unconsciously in the case of Haulette, mischievously in the case of Michael, who is older - the French Republic acts to spare an audience's feelings from the physical facts of death. The spells of Paulette's and Michael's world, in which death is displaced from reality to play, is lyrically expressed - whispered words at night, gifts, thefts (a realistic version of attitudes expressed in Cocteau's Les Enfants Terribles, despite of the differences in age between

WINNER - 73641296 - jesseytucker

Les Jeux Interdits has been described as harrowing. I can
see how people get this impression but it is not the relevant
reaction to the film. Death is conceived as a serious matter
by most people and this leads, in England and American particularly,
to a solemnity concerning it. The French, however, can make
excellent jokes about it, as in L'Armoire Velante. I should
describe Les Jeux Interdits as an idyll. Death governs the
action of the film, but as an exquisite game. Though it is ob-
vious to an adult audience that the enchantment of the children's
game cannot last indefinitely, there is little hint of menace
as the adult world infringes on their play. On the contrary, there
is an extension of implication outwards from the children's not-
ions. Innocence is made the vehicle of satire of religion,
the official form of death: from Paulette's prayers as she
buries the dog to the grubby hand groping for the altar-cross,
the mockery is unmistakable. Lyricism and pathos, reminiscent
of Poil de Carrotte, is strong, of course, but the sound French
tradition of anti-clericalism operates in les Jeux Interdits.
The power of these children to subvert--unconsciously in the
case of Paulette, mischievously in the case of Michel, who is
older---the Franch Republic sets to spare an audience's feelings
from the physical facts of death. The spell of Paulette's and
Michel's world, in which death is displaced from reality to
play, is lyrically expressed--whispered words at night, gifts,
thefts (a realistic version of attitudes expressed in Cocteau's
Les Enfants Terribles, despite the differences in age between

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