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'The Wild Child' And 'Lovers And Other Strangers'

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CINEMA

By Paul Chaplin
Cavalier Daily Staff Writer

The first time one sees "The
Wild Child," he might think that he
has seen a non-movie, a film in
which nothing happens. There is
hardly any plot, little dialogue, and
black-and-white photography. Yet,
Francois Truffaut has made one of
his finest films, and certainly one of
the best films of 1970.

With Jean Gruault. Truffaut has
adapted the journals of
Jean-Marc-Gaspard Itard (published
as "The Wild Boy of Aveyron") and
made a film based on an historic
occurrence of 1798. The Wild Boy
was the rage of Paris, the living
example of Rousseau's primitive,
savage man in his naturalistic,
incorruptible state. To the
displeasure of the Parisians, the
child of the woods was simply wild,
and to some, an uncontrollable
idiot. Itard, however, believed in
the values of science, and he felt
that it was possible to educate the
boy and make him a member of
society. And so, at the end of the
eighteenth century and the Age of
Reason. Itard started his
challenging project.

In the film, the part of the Wild
Child is played by Jean-Pierre
Cargol, a gypsy boy recruited by
Truffaut, who himself plays
Professor Itard. The performances
are perfect in every respect. Cargol
has the violence and primitive
savagery of the child of nature and
his slow indoctrination into society
is truly a painful experience.
Truffaut was wise in assigning the
role of Itard to himself, for he is
able to develop a genuine rapport
with his young actor, which in this
picture is essential. M. Truffant's
performance is very subdued; he is
clearly a man of science, and at
times seems cold and emotionless,
yet we sense that this is a facade
that will be broken.

Photography

The film is superbly
photographed by Nestor
Almendros. I feel it is important to
give credit to him, for I believe that
with Truffaut acting in the film,
some of the shots would have to
have been "directed" by
Almendros. Nevertheless, the film
contains numerous camera
techniques, a trademark of
Truffaut, none of which are used
simply for show. Among these are
the dissolves and iris shots, which
evoke a feeling of old silent films.

This old-fashioned feeling is
somewhat crucial to the film. In the
August, 1970 Esquire, Truffaut
stated that film directors should
make statements about life. "The
Wild Child" is a narrative in a pure
sense, and at the core of this film,
perhaps more than others by
Truffaut, there lies a truth which
Truffaut is trying to convey.

The spirit of the eighteenth
century meets the noble savage and
finds him uncontrollable. The

persistence of scientific training and
testing does not seem to be making
rapid progress. Victor, the Wild
Child, rebels and Itard is frustrated.
Nothing seems to be happening in
the film: both Itard and Victor
seem to be static and incapable of
change.

A Change

Gradually, however, the viewer
becomes aware of a change. It isn't
blatantly obvious, and it creeps up
on you and catches you off guard.
Like other films directed by
Truffaut. "The Wild Child" charms
you, seduces you into accepting
and believing everything you see.
Thus, when Victor is punished you
feel several emotions: sympathy for
Victor and anger at Itard, while at
the same time you also hope that
Itard's methods will work. For me,
the most emotion-filled moment
occurs when Victor disappears. I sat
in the theatre almost trembling,
worried that he would get hurt,
that something, would happen,
hating Itard for letting this happen,
and hating Truffaut, the
director/actor, for taking this so
calmly.

It was then that I became aware
of the change in Itard. In "The Wild
Child." Truffaut is stressing
humanism over the scientific
method. Itard does change and
perhaps we do too, although the
final iris of Victor leaves me with a
tinge of doubt that even Truffaut
would be able to tame this child.

"The Wild Child" will interest a
variety of people. Those familiar
with the writings of Itard might
gain more from the film, and
certainly anyone familiar with
French will have additional insights
over those of us who have to read
subtitles. The nicest thing about
"The Wild Child" is that it is a
beautifully made film that everyone
can enjoy, and like any work of art
and the best films of Truffaut, we
carry a part of it around within us
for the rest of our lives.