Pasolini filmed actor Ninetto Davoli walking down the street with documentary footage fading in and out. Off screen voices of God and the Devil provide commentary, and there is an Italian pop song on the soundtrack. I guess Pasolini was saying something about man's destiny but as a religious allegory, it comes off as cinematic doodling compared to The Gospel According to Matthew of Hawks and Sparrows.

Those who have read my previous postings know that I am something of a Marco Bellochio partisan. His short is of University of Rome students depicting the factionalism of the students and faculty, as well as of the differences within the left in what looks like an improvised work. In his interview in the supplement, Bellochio states that he felt he should have expressed a clearer point of view. As sincere as the politics of the students may have been, and I shared in some of these beliefs, they seem at best naive in retrospect. That students would claim to speak on behalf of workers was, looking back, extemely arrogant.

The politics in Godard's piece are also based on Marxist Utopianism. The framing narrative, a self-reflective bit of Godardian cinema with a couple discussing film in general is classic, with one of the characters declaring that true cinema is young Dreyer, or old Murnau. A second couple are suppose to be an Arab man and a Jewish woman, lovers on the verge of separation. Setting aside the politics, this is Godard again meditating on love. While I cringed at some of the "revolutionary" statements, the camera never faltered. Karl Marx may be discredited, but the image of a blonde French woman, stylishly dressed in red, smoking a Gauloise cigarette, never goes out of style.