Enfance nue, L’ (1968)
★★★★ / ★★★★
François (Michel Terrazon) was a ten-year-old boy whose foster family did not want him anymore. The mother (Linda Gutemberg) was concerned about François always getting into fights, having trouble in school, stealing, and not responding to any sort of discipline she and her husband (Raoul Billerey) had attempted. François also hurt and killed animals yet it seemed like he did not feel bad about his actions. The Social Services had to intervene and placed the child with a kind elderly couple (Marie-Louise Thierry and René Thierry) and with another foster child (Henri Puff) now in his teens. Directed by Maurice Pialat, “L’enfance nue” was an unflinching look at a troubled childhood and the system designed to handle children that were abandoned in the streets or given up for adoption. What I loved about the film most was it never offered easy answers. It was easy to judge our protagonist’s first foster family because we didn’t have a chance to observe their parenting skills for an extended amount of time. We were given information about the way they reacted to the child’s behavior, but we all know–or should know–there’s always a difference between secondhand description and firsthand observation. When the mother described their parenting to the director of Social Services, I was bothered by the fact that not once did she cite one instance where she could have done something differently with François. It wasn’t obvious but it sounded like François was a canister of blame. It gave me the impression that they didn’t want the child because it wasn’t the kind of child they dreamed of. Furthermore, it was obvious that the parents weren’t always on the same page. The father had a soft spot toward François when the mother performed a spice of tough love. The turning point was when François was transferred to his second foster family. We observed his different temperaments, wild tantrums, and the way he seemed to relish watching the people who loved him turn red with fury. With Pialat’s sensitive and astute direction, he showed us that François wasn’t an evil child. He was desperate for attention and his cruel actions were his cry for help. His new family was actually perfect for him because they seemed to have endless amount of patience. During François’ calm moments, he was able to make real connection with them. He enjoyed listening to his grandmother’s story about her huge family, the grandfather’s magical ability to fix just about anything in the house, his foster brother’s collection of weapons, and especially the great grandmother (Marie Marc) who read the morning paper with him. When he regressed to his unkind behavior, like a real family, they welcomed him back. I was moved with their ability to forgive and it made me wish that all families were like them. Written by Arlette Langmann and Maurice Pialat, “Naked Childhood” was a difficult look at the reality of abandoned children. It’s a must-see for those who, including myself, plan to adopt and raise their child as if they were our own flesh and blood. We should love them unconditionally and we just hope that they feel the same way toward us.