Salient. An organ of student opinion at Victoria University, Wellington. Vol. 23, No. 9. Wednesday, November 9, 1960

[introduction]

Movements have taken on a new significance in 1960: Italy, Britain, France and Germany are producing more "social comment" movies than ever before. Angry young men in several countries have been producing low-budget movies by the score, sweeping up festival prizes, impressing the critics (misleading some), and swiftly overtaking their elders' positions.

In France, Renoir and Cocteau have given way to young directors like Claude Charbrol and Marcel Carne, and films like Hiroshima Mon Amour and Les Amants. Italy has produced La Dolce Vita, forbidden by the Catholic Film Centre for all audiences. Purporting to "reflect something of the helpless chaos in which we are all of us living today," it is directed by Federico Fellini. In Sweden, sexennial Ingmar Bergman has been keeping up the good work in his own private movement with The Face and Jungfrukallan. The latter has been called a great screen tragedy; it is also full of the stuff of life which causes Bergman fans to remark–man if you gotta go, that's the way I want to go!. From Argentine, La Caida has impressed critics as the most important document to come out of Latin America yet.

These then, are representative of 1960's cinema work. In our own country, we have been fortunate enough to seeing two especially outstanding works — Eisenstein's Ivan The Terrible and the Indian Pather Panchalli. Pabst's Dreigroschenoper has been around again, as have also Moana. The Last Laugh, The Blue Angel and other great classics.