nhanced first by the black and white photography, then by the use of the hand-held camera. The camera follows the four singers as they run down an alley to hide from fans, action which takes place behind opening music and which therefore has no sound of its own. It seems all the more documentary-like for this. Even in this sequence, though, the director contrasts the hand-held image of cinema vTritT with staged narrative in the form of the man who stands on the platform and wrestles with the snack bag he is trying to open and with his newspaper.
It is obvious in this opening sequence that the action is taking place on real locations, first the train station and the surrounding streets and then the train itself, which moves through a real countryside and does not stand in front of a screen on which the background is projected. The lighting is harsh and realistic, coming as it does from real sources. Once the four are in their railroad car, the camera moves from person to person in the train car and in this way actually reminds the v
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