A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Tuesday, September 1, 2026

The Story of a Three Day Pass (Melvin Van Peebles, 1967)

Harry Baird and Nicole Berger in The Story of a Three Day Pass

Cast: Harry Baird, Nicole Berger, Hal Brav, Tria French, Pierre Doris, Christian Marin. Screenplay: Melvin Van Peebles, based on his novel. Cinematography: Michel Kelber. Film editing: Liliane Korb. Music: Melvin Van Peebles, Mickey Baker. 

The Story of a Three Day Pass is a tale of expatriation made by an expatriate, Melvin Van Peebles. Turner (Harry Baird), a Black American soldier stationed in France, is granted a three day pass by his captain (Hal Brav), which he plans to spend in Paris. There he meets Miriam (Nicole Berger), a young French woman, and goes with her to the coastal town of Étretat. In the midst of a romantic weekend, in which they declare their love for each other, they are spotted by a trio of his fellow servicemen. Turner fears the worst: They will tell the captain that he was seen there with a white woman, and he will suffer for it. The film that Van Peebles develops from this situation is highly influenced by French New Wave directors like Jean-Luc Godard, using surprise cuts and unusual camera angles -- in one scene, for example, when the couple enters the hotel room they've rented, they're seen from overhead, like participants in an experiment. Van Peebles emphasizes Turner's isolation and loneliness, as in a scene when he goes to a sidewalk café and sees three Black men at another table. Although they acknowledge one another with a wave, they don't make contact, suggesting that African expatriates in France have little in common with an American expatriate. Van Peebles maintains a steady tension born of Turner's displacement throughout the film, sometimes with a sly humor. When Turner and Miriam have sex, we enter their fantasies: He imagines himself as a prince arriving at a castle; she sees herself as the captive of African tribesmen. A low-key, bittersweet film, The Story of a Three Day Pass touches and amuses while also seething with a repressed anger.