gri_2003_m_46_b06_f02_006
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Transcribers
- 72098800 - Preacher357
- 72213569 - Sticker88
- 72473337 - Zooniverse2017
- 72492926 - highc51239
- 73062829 - jesseytucker
- WINNER - 73626252 - mar15ted
72098800 - Preacher357
the two sets of children).The anti-clericalism is accompanied, as often in French films,
by peasants treated with a combination of naturalism and carica-
ture: the feud of neighbours, for example, is caricatured, but
brilliant acting invests the absurd figures with a sence of life -
of flesh, bolld, and hair. Rene Clement's feeling for charact-
er shades into delicate insight in his handling of the children.
Paulette, unable to understand the death of her parents, mourns
her dog: 'death' and prayer are words to her without the meaning & values
experience attaches to them. Michel is more knowledgable but
protects Paulette: he learns the game from her, without her be-
lief in it, but with loving motives which gives his actions another
kind of innocence. This relationship, which is the core of the
file, is touching and perceptive: when their game touches real-
ity (in the increasingly ambitious series of thefts to provide
crosses for the animal's graves), reality is made absurd. By
comparison with their lyrical phantasies reality is official,
pompous, clumsy. Reality finally separates the children and a
chilling experience of loss in communicated. Michel destroys
the animal cemetry, partly in an effort to efface Paul-
ette's memory: he places her braclet by the owl's nest, in re-
turn for the dead mole which he took from the owl to keep Paul-
ette's dog company. Michel, the peasant, is arranged and destruc-
tive; Paulette, younger, more gentle and genteel, is stunned by
the separationo. The film has been called a comment on war but
I am not sure that this is the case. War fixes the meeting of
72213569 - Sticker88
the two sets of children).The anti-clericalism is accompanied, as often in French films,
by peasants treated with a combination of naturalism and carica-
ture: the feud of neighbours, for example, is caricatured, but
brilliant acting invests the absurd figures with a sense of life -
of flesh, blood, and hair. Rene Clement's feeling for charact-
er shades into delicate insight in his handling of the children.
Paulette, unable to understand the death of her parents, mourns
her dog: 'death' and prayer words to her without the meaning & values
experience attached to them. Michel is more knowledgeable but
protects Paulette: he learns the game from her, without her be-
lief in it, but with loving motives which gives his actions another
kind of innocence. This relationship, which is the core of the
film, is touching and perceptive: when their game touches real-
ity (in the increasingly ambitious series of thefts to provide
crosses for the animals' graves), reality is made absurd. By
comparison with their lyrical fantasies reality is official,
pompous, clumsy. Reality finally separates the children and a
chilling experience of loss is communicated. Michel destroys
the animal cemetery, partly to prevent the crosses from being re-
turned to the real cemetery, partly in an effort to efface Paul-
ette's memory: he places her bracelet by the owl's nest, in re-
turn for the dead mole which he took from the owl to keep Paul-
ette's dog company. Michel, the peasant, is enraged and destruc-
tive; Paulette, younger, more gentle and genteel, is stunned by
the separation. The film has been called a comment on war but
I am not sure that this is the case. War fixes the meeting of
72473337 - Zooniverse2017
the two sets of children).The anti-clericalism is accompanied, as often in French films,
by peasant treated with a combination of naturalism and carica-
ture: the feud of neighbours, for example, is caricatured, but
brilliant acting invests the absurd figures with a sense of life -
of flesh, blood, and hair. Rene Clement's feeling for charact-
er shades into delicate insight in his handling of the children.
Paulette, unable to understand the death of her parents, mourns
her dog: 'death' and prayer are words to her without the meaning & values
experience attached to them. Michael is mere knowledgeable but
protects Paulette: he learns the game from her, without her be-
lief in it, but with loving motives which give his actions another
kind of innocence. This relationship, which is the core of the
film, is touching and perceptive: when their game touches real-
ity (in the increasingly ambitious series of thefts to provide
crosses for the animals' graves), reality is made absurd. By
comparison with their lyrical phantasies reality is official ,
pompous, clumsy. Reality finally separates the children and a
chilling experience of loss is communicated. Michel destroys
the animal cemetery, partly to prevent the crosses from being re-
turned to the real cemetery, partly in an effort to efface Paul-
ette's memory: he places her bracelet by the owl's nest, in re-
turn for the dead mole which he took from the owl to keep Paul-
ette's dog company. Michel, the peasant, is enraged and destruc-
tive; Paulette, younger, more gentle and genteel, is stunned by
the separation. The film has been called a comment on war but
I am not sure that this is the case. War fixes the meeting of
72492926 - highc51239
the two sets of children).The anti-clericalism is accompanied, as often in French films, by peasants treated with a combination of naturalism and caricature: the feud of neighbours, for example, is caricatured, but brilliant acting invests the absurd figures with a sense of life, of flesh, blood, and hair. Rene Clement's feeling for character shades into delicate insight in his handling of the children. Paulette, unable to understand the death of her parents, mourns her dog: 'death' and prayer are words to her with the meaning & value experience attaches to them. Michel is more knowledgeable but protects Paulette: he learns the game from her, without her belief in it, but with loving motives which give his actions another kind of innocence. This relationship, which is the core of the file, is touching and perceptive: when their game touches reality (in the increasing ambitious series of thefts to provide crosses for the animals' graves), reality is made absurd. by comparison with the lyrical phantasies reality is official, pompous, clumsy. Reality finally separates the children and a chilling experience of loss is communicated. Michel destroys the animal cemetery, partly to prevent the crosses from being returned to the real cemetery, partly in an effort to efface Paulette's memory: he places her braclet by the owl's nest, in return for the dead mole which he took from the owl to keep Paulette's dog company. Michel, the peasant, is enraged and destructive; Paulette, younger, more gentle and genteel, is stunned by the separation. The film has been called a comment on war but I am not sure that this is the case. War fixes the meeting of
73062829 - jesseytucker
the two sets of children).The anti-clericalism is accompanied, as often in French films,
by peasants treated with a combination of naturalism and carica-
ture: the feud of neighbours, for example, is caricatured, but
brilliant acting invests the absurd figures with a sense of life--
of flesh, blood, and hair. Rene Clement's feeling for charact-
er shades into delicate insight in his handling of the children.
Paulette, unable to understand the death of her parents, mourns
her dog: 'death' and prayer are words to her without the meaning and values
experience attaches to them. Michel is mor knowledgable but
rotects Paulette: he learns the game from her, without her be-
lief in it, but with loving motives which give his actions another
kind of innocence. This relationship, which is the core of the
film, is touching and perceptive: when their game touches real-
ity (in the increasingly ambitious series of thefts to provide
crosses for the animals' graves), reality is made absurd. By
comparision with the lyrical phantasies reality is official,
pompous, clumsy. Reality finally separates the children and a
chilling experience of loss is communicated. Michel destroys
the animal cemetry, partly to prevent the crosses from being re-
turned to the real cemetry, partly in an effort to efface Paul-
ette's memory: he places her bracelet by the owl's nest, in re-
turn for the dead mole which he took from the owl to keep Paul-
ette's dog company. Michel, the peasant, is enraged and destruc-
tive; Paulette, younger, more mental and genteel, is stunned by
the separation. The film has been called a comment on war but
I am not sure that his is the case. War fixes the meeting of
WINNER - 73626252 - mar15ted
the two sets of children). The anti-clericalism is accompanied, as often in French films, by peasants treated with a combination of naturalism and caricature: the feud of neighbours, for example, is caricatured, but brilliant acting invests the absurd figures with a sense of life - of flesh, blood, and hair. Rene Clement's feeling for character shades into delicate insight in his handling of the children. Paulette, unable to understand the death of her parents, mourns her dog: 'death' and prayer are words to her without the meaning & values experience attaches to them. Michel is more knowledgeable but protects Paulette: he learns the game from her, without her belief in it, but with loving motives which give his actions another kind of innocence. This relationship, which is the core of the film, is touching and perceptive: when their game touches reality (in the increasingly ambitious series of thefts to provide crosses for the animals' graves), reality is made absurd. By comparison with their lyrical phantasies reality is official, pompous, clumsy. Reality finally separates the children and a chilling experience of loss is communicated. Michel destroys the animal cemetery, partly to prevent the crosses from being returned to the real cemetery, partly in an effort to efface Paulette's memory: he places her bracelet by the owl's nest, in return for the dead mole which he took from the owl to keep Paulette's dog company. Michel, the peasant, is enraged and destructive; Paulette, younger, more gentle and genteel, is stunned by the separation. The film has been called a comment on war but I am not sure that this is the case. War fixes the meeting of