What the film is is an intense magnification of the troubles of child-rearing, emphasized twofold by Truffaut's role in the film: he is the "mother" giving birth to the film and he is the father raising this "wild child" within the film good-natured, but without the inherent understanding of the boy that his housekeeper has (and without the inherent understanding Truffaut the director has of cinema). It's unsentimental, but Truffaut is a quiet master as is the case with David Lynch's "The Elephant Man," his auteur sensibilities shine through the story so that it fits in neatly with his catalogue - here we have another film with a naked boy's bum, and young children being goofy and walking in packs. It feels a little removed, and it becomes clear that that's to prevent sentimentality. Truffaut kind of merges both into something of unique value. It is believed that he died there, without ever marrying.Ī movie like this can be viewed in two main ways: a human example of a scientific study (with on screen replications of the study, and a moral conclusion) or a lesson in learning for the participants (the wild child will learn how to spell his adopted name his teacher - and we the audience - will learn how to feel!). Itard took care of Victor for 5 years in 1806, Victor moved into Madame Guerin's house and stayed there for the rest of his life, with the French Government paying for his care. but at least without impatience." Viewers may thank Truffaut for choosing the lesser of two evil punishments! (7) Finally, Dr. I made him gather up all the cards and replace them all. and grabbing him forcibly by the hips, I held him out of the window, his head facing directly down toward the bottom of the chasm. Itard admits that he actually "violently threw open the window of his room, which was on the fifth floor overlooking some boulders directly below. Real-life Victor bit his bedsheets and began to throw hot coals around the house before falling to the ground and writhing/screaming/kicking and Itard (Truffaut) did not merely put him into the closet for a few moments. Itard's responses were different than are shown in the film. (6) In the scene in which Victor throws a tantrum about learning the alphabet, his and Dr. Victor also often wet his bed, but Itard never punished him he decided to allow Victor to learn whether he preferred to lie in a wet bed or to get up to relieve himself. (5) Itard would rub Victor's back to relax and comfort him, but then had to worry about sexual responses. (4) Madame Guerin became almost a mother to Victor, always attending to him, whereas the film suggests that she merely helped to train him and to clean up after him. (3) Jean Itard was merely a young medical student, while the film suggests that he was on an equal basis with Pinel. (2) Victor's hair would have been much longer, because he was indifferent to hygiene or how he looked. A few variations are: (1) Victor was not stark naked when first captured he had the shreds of a shirt around his neck. Itard's written accounts in most respects. A swirling Hammond organ makes “Search & Destroy” sound more garage than punk.Truffaut remained true to Dr. The signature riff of “Gimme Danger” gets pumped through a phasing effect, while the original piano trill is cleverly replicated with a single electric guitar note. You can hear the crowd going crazy at the start of those instantly recognizable drumbeats from “Lust for Life.” When Iggy and company tear into vintage Stooges standards with late-‘80s gear, they nearly reinvent the tunes. Iggy then takes on Bowie and Carlos Alomar’s “Sister Midnight,” replete with androgynous backing vocals and wah-wah guitar leads. A near-flawless rendition of “China Girl” follows, with Iggy singing like the song’s cowriter, David Bowie. It opens with his cover of Johnny O'Keefe's "Real Wild Child (Wild One),” given the post-punk treatment with a tautness that his band could only have achieved via constant touring. It sounds like one big, amazing show, spotlighting the godfather of punk as he edged into the '90s. Recorded live in the late '80s, Real Wild Child harvests the cream of Iggy Pop’s crop from various stages.
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