严格的说，这也许算不上是一部集锦影片，而是法国知识分子导演和电影工作者在越战时代的一次“良心大行动”，而且这也是不多的几部集锦纪录片之中的经典之作。
在影片开始，解说词就已经点明影片的主旨：越战是一场富人和穷人的战争，是富裕的美国和贫穷的越南之间的战争。在接下来“欲哭的约翰逊”、“倒叙（闪回）”“镜头眼”、“我们为何而战”、“安与尤艾”、“目眩”等等段落里，我们随着编导进入越南和美国的现状、探讨越战的历史、旁观知识分子的讨论、参与世界各地人们的讨论，深入地、多侧面地接近越战。这里面既有导演的主观阐述，也有从新闻影片上剪接过来的“客观”纪实，甚至还有极端个人化的表达方式。大概是在戈达尔的段落里，我们不断看到一个摄影师/导演坐在摄影机后不同角度、不同景别的同一场面，而解说词却在说着：我们没法到越南去，只能在这里制作这部影片。
在大量事实和观点，甚至是包括美国、越南以及世界各国人民对越战问题争论的罗列之后，影片最后的一段解说给所有人深刻的印象，也使得整部影片得到了最恰当的总结和升华：“战争就在我们周围，越南是为了我们而战”！
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《远离越南》（Loin du Viêtnam，尤里斯·伊文思等，1967年|120分钟|35毫米|黑白与彩色|有声）是由多位导演拍摄的反映越南战争的集锦片。除了尤里斯·伊文思，其他导演为阿兰·雷乃、让—吕克·戈达尔、阿涅斯·瓦尔达、克劳德·勒鲁什和美国摄影家威廉·克莱恩。影片首先对比了战争双方的军事力量，美方拥有无比先进的航空母舰，越方则以原始方式挖掘简陋的防空洞；随着一阵狂轰滥炸，银幕变得昏天黑地；一出独幕剧表现了巴黎呼吁和平的示威与纽约支持战争的游行；在越南，一出名为《约翰逊在哭泣》的话剧讽刺了好战的美国总统约翰逊；在巴黎，戈达尔一边将眼睛伏在取景器上取景，一边解释为什么美国一定要建立一个属于美国的越南，并在这个片段中插入了自己刚刚拍竣的影片《中国姑娘》的部分场景；一位美国战地女记者讲述了自己为什么在前线时希望成为另一个阵营的人；一位生活在巴黎的年轻的越南姑娘回忆起了在五角大楼前自焚的诺曼·莫里，他的远在大西洋另一边的妻子出现在镜头前。本片的诞生过程大致如下：克里斯·马凯在听了从越南归来的伊文思的讲述后，倡议法国新浪潮的几位著名电影导演以及纪录片大师伊文思和美国摄影家威廉·克莱恩（1928年生）共同拍摄一部关于越南战争的集锦片，每人负责拍摄其中的1到2个片段（总共拍摄了11个片段）。这些导演的艺术风格不同，拍摄的片段多姿多彩，最极端的莫过于戈达尔拍摄的名为“镜头眼”的片段，依照形式与内容相互分离的原则，这个片段中的声音和画面毫无关联，他还亲自跳到镜头前讲述自己为什么不能去越南而只能在巴黎拍摄。本片是电影史上著名的反战影片之一，具有极强的艺术感染力。

威廉 克雷导演把摄影机瞄准了政治界，《自由先生》这部作品看似搞笑荒唐，讽刺了越南战争时期美国的帝国主义外交政策。
美国超人自由先生来到法国，目的是解救法国，目的是不受他国共产主意的侵略，尽管他的星条力量得到胜利，法国人却不怎么领情，自由先生愤怒起来，于是他决定报复法国，把他能摧毁的一切都毁灭掉...

what can i say...要想了解60年代的法国时尚前卫文化，首看此片，再看《ANNA》。
Too bad this European cult film of the Sixties, written and directed by an American whose photo documentary reportage on New York, Rome, and Tokyo is legendary, is all but impossible to track down here in North America. After years of fruitless searching I finally attended two screenings at the Whitney Museum of Art in 1997. The main draw in this film for me was Grayson Hall, who portrays Miss Maxwell, Editor of Vogue magazine--a character so closely based on Director William Klein's former boss Diana Vreeland, it's amazing Vreeland didn't sue for libel. Grayson Hall was flown over specially from America to do this. Try to get the original French language version--she spoke French and her accent, and delivery, are priceless. (She referred to the experience acerbically as "Hell, honey!") The film's eponymous star Dorothy MacGowan was chosen at random from a crowd shot of Beatles girls welcoming the Fab Four at a New York airport. MacGowan stands at the center of a wildly gyrating scenario that satirizes pretty much everything in mid Sixties French society that is or isn't nailed down--politics, fashion, the media, the idealization of rural life and French traditions--taking frequent detours into fantasy sequences and even including some animated segments that must have helped inspire the animated interludes in the original Monty Python series. The score by Michel Legrand has some brilliant moments, particularly during the opening sequence featuring sheet metal fabricated fashions; the rest of the film never quite lives up to the promise of this inaugural tour de force.
Still, as a time capsule of Sixties effulgence, it's well worth tracking down. Let's hope somebody "rediscovers" it and brings it out on video, pronto! With the original letterbox ratio, bien sur.

导演克雷恩通过本片，讽刺了现代社会个人主义的逐渐丧失，以及政府对个人隐私越来越侵犯。
一项调查选中了克劳迪和让米切这对夫妻，安排他们住在一栋很艺术的公寓里，并对他们进行全天侯监视，并在电视上播出，把他们宣称为“新城市，新人类”...

Back in the Laserdisc era there were many classical videos released by RCA, Decca, DGG and others which attempted to move beyond the standard concert hall footage of the performers (and perhaps panning over some appropriate paintings or stained glass) to imaginative and unexpected images that commented on or contrasting with the music. This sort of MTV-for-classical-buffs often had off-the-wall scenarios, such as the conductor stepping up to the guillotine operated by the tympanist for the final movement of Berlioz’ Symphonie Fantastique, or some of the players in bright costumes roller-skating around a large hair salon for Prokofeiv’s Classical Symphony. Ken Russell selected and edited together images mostly from B&W newsreels to accompany the complete Planets by Holst. There has been almost none of this type of material issued on DVD - perhaps the Laserdiscs had poor sales.
Messiah is probably closest to Russell’s effort visually. The performance is excellent, and we do get to see the performers here and there thru the presentation, sometimes in extreme closeups as they declaim the dramatic texts of Handel’s work. Though performances of Messiah are often given at Christmastime and recordings of the entire work sell well in this season, I don’t believe this DVD would be an appropriate gift for, say, that devout elderly aunt of yours. Handel’s story of the nativity, passion and resurrection of Jesus is illustrated on the screen with just as many profane images as sacred ones. In fact, many of the religious images might be construed as commenting in a negative fashion on the activities recorded. These include TV evangelists, mass prayer meetings, group baptisms, costumed religious marches in the south of Spain, an amateur staging of Christ’s passion, black churches, etc. A nice touch is the occasional cutting away from Handel’s music to a number from a choir identified with captions as being a reformed addicts group, or a gay & lesbian choir.
Less understandable are some of the off-the-wall image choices, such as the extensive coverage of Houston’s annual “Hair Ball,” in which everyone dresses up in Louis XIV-looking outfits with giant wigs. There are also some disturbing shots of prisoners in some sort of war being beaten and worse. (Ken Russell’s clips chosen for “Mars” in the Planets were similar but not nearly so painful.) I realize Las Vegas provides wonderful visual fodder to illustrate a whole world of philosophical points. (As a matter of fact I still have a Super8 reel of such footage I had once intended to use in an experimental film titled “Ersatz/Real.”) But Klein falls back on LV bling too much, especially in the first sections of the film. For example, he uses shots of people winning jackpots at the slot machines to accompany Handel’s text about “good tidings.”
The performance and surround sonics are first rate. I had some concern about how the words would be handled - there is no booklet provided. They are emblazoned on the screen in big block letters at the start of most sections, in sync with the music - even getting larger as the volume increases. I probably would not have listened to all of Messiah this season, but now that I have I must say I never dozed a minute! And my good impression of Handel’s masterpiece is maintained. But can’t say the same for Klein’s film.

For the very first time, a documentary team is allowed to shoot sequences in the backstage of the French Open of tennis of Roland-Garros.

Klein goes on the hunt for Little Richard, the legendary ‘Architect of Rock and Roll’, who quit show business in 1957 at the height of his fame to become an evangelist. Richard was then lured back to secular music in the 1960s and 70s, but the excesses of stardom led him to a second retreat from the stage. For years he struggled to reconcile his religious calling with his flamboyant rock-and-roll persona, and at the time of filming, Klein finds Little Richard selling ‘Black Heritage Bibles’ for a Nashville couple. Sensing that his image is being exploited, Richard quits his sales position and deserts the film. But Klein turns this into an opportunity to reconstruct Richard’s personality through the words of his family and friends in his native Macon, Georgia, and to celebrate his status as a cultural icon by filming scores of Little Richard impersonators and adoring fans in Hollywood.

Part II of a compilation movie featuring European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.

Part II of a compilation movie featuring European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.

Klein filmed the meetings, barricades, debates, lectures, and the occupations in universities during May 1968.