A two-disk set is an opportunity to appreciate underappreciated talents and the cultural policies that nurtured them.
. As a Black American filmmaker thwarted in his effort to make a career in Hollywood in the nineteen-fifties, he emigrated to the Netherlands, then moved to France. There he published novels and made this film, which he followed up with his first feature, “”—simultaneously one of the best French and best American films of the sixties. “500 Francs” is, in effect, a silent film; Van Peebles wrote it, directed it, and did the music for it, and there’s no dialogue.
Though the dramatic stakes seem minor, Van Peebles distills the premise down to its essence—money and the need for it—and creates, in twelve minutes, a grim, grinding, even brutal panorama of poverty. The boy realizes that he needs something sticky, wants to get a gumball from a machine, has no coin to put in the slot, and tries in vain to steal one. Soon the boy has competition: a grimy grownup who needs the money, too, and has experience and skill in getting it.
shows two men from such a stultifying environment who both endure and perpetuate its miseries. They’re both obsessed with the title character, played by Evelyne Ker, a single mother and a sex worker on the streets of Paris. One of her clients, Claude , yearns to take her out on a regular date and dreams of getting married. Her ex, Hubert , who is her child’s father, can’t get Janine out of his mind.
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