Mary Poppins Returns
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All Critics (12)
| Top Critics (3)
| Fresh (11)
| Rotten (1)
| DVD (1)
What helps make Marker and Lhomme's documentary all the more remarkable is its occurring at a moment in history whose specialness only became evident later.
It's never fully uninflected like authentic vérité, but the material gets at a kind of truth: the chatty anxieties of shopkeepers, passersby, mothers and sons, all grappling with the changing world of May 1962.
Documents on-the-street talks with a wide variety of Paris residents.
The people and cinematography are compelling, and so, by extension, is this 1962 documentary.
A distinctive preservation of the lives and thoughts of the people in Paris during May 1962.
Dare I say so about a film by the much-admired Marker? It's only mildly interesting. Quite a disappointment considering that it's out of circulation for half a century.
A revelatory restoration.
"Le Joli Mai (The Beautiful Month of May)" gives an historic insight into France during its evolution from colonial power to the socialist democracy it would become.
Marker set out to make a social document, a record and an examination of where his fellow Parisians' heads were. But more than what they thought, Le Joli Mai is interested in how they thought.
At nearly three hours, "Le Joli Mai" meanders, but it remains potent when it gets personal, even if the political aspects can seem a little dated.
Penetrates to the Parisian soul.
As he does in his best works, Chris Marker constantly scans the fluctuations of human behavior with the clarity of a poet.
It is another man-on-the-street kind of documentary but then it isn't..with extreme political unrest unfolding at the same time, this is a society not at ease with itself. People undertake their day to day activities but with full knowledge that their rights and freedoms may be at risk threatening their existences.
With the documentary "Le Joli Mai," Chris Marker and Pierre Lhomme attempt to capture a particular time and place, namely May 1962 in Paris. Sadly for them, nothing much was happening that month, just after Algerian independence. But at least we do get a weather report at one point, along with a musical interlude. On a thematic level, it just comes down to political statements and Marker's continuing fascination with all things cats.
Otherwise there are just person on the street interviews which are much more miss than hit, and mostly dull, with the highlights being a couple of Algerian men. In short, this is nowhere near as fluid as some of Marker's later films, and only late do the filmmakers manage something interesting cinematically like the stop motion photography of Paris and the overhead shot of the women's prison where politics again overwhelm the visuals.
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