Wednesday, May 22, 1974
THEVMICHIGAN DAILY
Page Nine
Wednesday, May 22, 974 THE MICHIGAN DAILY Page Nine
Truffaut explores
exploitation in 'Kid'
(Continved from Page 5)
simply for laying on her back
and obtaining notoriefy for being
involved in myste ious murd-
ers).
Truffaut shows us Camila's
rise from rags to riches. She
tells her own story while we vee
all the points at whiht she is
lying. She describes how she
left her husband, "like t h e
Queen of England," just sailing
right out with so much class.
Then we see what really hap-
pened. She was vatcniig tele-
vision to help war'd off" hem nus-
band's sexual advances when he
pulled out a rifle and shot the
television, she rose up scream-
ing and swearing and left the
door yelling.
How are we going to react to
absurd personal histories? The
sociologist in the mavie tries to
understand her by talking about
her liking for the banjo as sub-
limeated phallic denal. "Did
you ever, think she just might
be a tramp?" asks his prim
secretary. Later he says that
she must find a loving contact
with reality, "real people' in
real situations."
BUT WHEN the, sociologist
says this, he is speaking to none
other than the ilea-bag saloon
singer Sam Golden, wh used
to put his Indianapolis Speed-
way recording on the stereo
every time he slept with a wo-.
man. The sociologist accuses
Sam of exploiting Camilla. to
which Sam calmly replies, light-
ing up a cigarette, "Are you
sociologist's reality, for, Eke
calling me a pimp?"
Camilla wants no part of the
kitsch, she usurps that tea'ity
into her own domain. "I exist,"
she tells Stanislas the sociolo-
Have a flair for
artistic writinq?
Ifryou are interest-
ed in reviewing
poetry. and music
or writing feature
stories a b o u t the
drama, dance, film
arts: Contact Arts
EOdi taror, /oThe
Michigan Daily.
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gist after she has sucked him
into the vortex as well, after
she has set him up For a murder
rap after he is the one mnstru-
mental in freeing her fsm pi-
son.
Just as her singing at the end,
a tasteless star, r,-minds us of
the singing scenes in Citizen
Kane, the film is full of re-
ferences to the rest of Truffaut's
work. Seeing Camilla run from
the detention home rito the end-
less stretch oftsaid is us in-
tomne's melancholy enn'.tser
teresting tsvist on s its chiid An-
with the, sea at tinarcd of 4011
"Interesting twist" is atun-
derstatement of ma mr propor-
lions. Here we have ore of the
most esteemed dire^ors work-
ing today who iinasiamedly
mocks what must be considered
one of the golden mactents in
French cinema. In Sueh A Gor-
geous Kid, Truffaut demon-
strates an irreverence that pre-
viously was reserved tor nose-
tweaking the French bourgeoise.
Now he has turned his satiric
gestures upon his own work, and
there is a definite malicious fla-
vor to his chara-eratioi of
his heroine, as if he wants as to
be repulsed by Bernadetta La-
Font. Of course we can all look
as Such a Gorgeous Kid in re-
trospect now, knowiag that Truf-
faut ironed out most of his un-
certainties about nakin smov-
ies in uis next fl-n, Day for
Night.
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