<\/p>\n
Lai gan bijis gana daudz str\u012bdu par fran\u010du jaun\u0101 vi\u013c\u0146a s\u0101kumu un t\u0101 pirmo filmu, nekad netiek ap\u0161aub\u012bta 50. un 60. gadu mij\u0101 karjeru uzs\u0101ko\u0161o filmdaru k\u0101 laika biedru un domubiedru koncepts. Vi\u0146i kop\u0101 re\u017eis\u0113ju\u0161i, mont\u0113ju\u0161i, darin\u0101ju\u0161i scen\u0101rijus, skat\u012bju\u0161ies citu filmas un atveidoju\u0161i viens otra ekr\u0101na darbos epizodiskas lomas.\u00a0<\/p>\n
1965. gada \u012bsfilmu antolo\u0123ij\u0101 \u201cPar\u012bzes se\u0161inieks\u201d satiekas se\u0161i da\u017e\u0101di autori \u2013 celmlauzis \u017dans Liks God\u0101rs, bage\u0161u gangsterkino virtuozs Klods \u0160abrols, dokument\u0101r\u0101 kino meistars \u017dans Ru\u0161s, prozaiskais filozofs \u0112riks Rom\u0113rs un citi \u2013, izvedot cauri Par\u012bzes cilv\u0113kiem, viet\u0101m un liet\u0101m. Tas ir hrestom\u0101tisks \u012bsmetr\u0101\u017eu kopums, kas noteikti neliks piedz\u012bvot t\u0101 saucamo Par\u012bzes sindromu, proti, vil\u0161anos komercializ\u0113taj\u0101 metropoles romantiz\u0101cij\u0101, tom\u0113r nenov\u0113rs\u012bsies no t\u0101s mitolo\u0123ijas.<\/p>\n
Antolo\u0123ijas koncepts ir pavisam vienk\u0101r\u0161s \u2013 se\u0161as miniat\u016bras ar se\u0161\u0101m t\u0101 laika cilv\u0113ku atzi\u0146\u0101m se\u0161\u0101s lielpils\u0113tas viet\u0101s \u2013, un tas \u0161odienas ac\u012bm ir unik\u0101ls fran\u010du jaun\u0101 vi\u013c\u0146a ener\u0123ijas, nepiek\u0101p\u012bbas un izdomas pieraksts. Tas vibr\u0113, sm\u012bdina da\u017e\u0101du decibelu smieklos un liek ieraudz\u012bt pils\u0113tu k\u0101 audeklu, avotu vai psiho\u0123eogr\u0101fijas atskaites punktu.<\/p>\n
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