Le Gai Savoir, The Wild Bunch, Easy Rider, The Rain People, High School, La Raison Avant La Passion

Six. Le Gai Savoir has the same mix, fanatic estheticism, and outrage at the Establishment of an anti-form piece at Leo Castelli’s warehouse. A fresh-faced girl and boy spend the post-midnight hours on a TV stage reviewing the state of world affairs, in a potpourri of advertisements, Tom and Jerry, Magic Marker scribbles and glaring newsreels of street crowds that come on like lantern slides and flicker off quickly. The raucous, exhilarating track hasn’t a soporific note in it. The Berto-Léaud actors are curt, impatient cartoon characters, more extremely cartoons than the Parisian red guardists in La Chinoise. Coutard’s face-slapping photography is robust and throws itself completely into every moment. Every Godard has a new form; this one, with its burning light, gem color, and scarring discordancies, image-sound-titles-handwriting sometimes all at one time, is the meanest and least

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