It is the magic charm of the old aristocratic quarter that they are at the same time plebeian. Just as, sometimes, cathedrals used to have them within a stone's throw of their porches (which have even preserved the name, like the porch of Rouen styled the Booksellers', because these latter used to expose their merchandise in the open air against its walls), so various minor trades, but peripatetic, used to pass in front of the noble Hôtel de Guermantes, and made one think at times of the ecclesiastical France of long ago. For the appeal which they launched at the little houses on either side had, with rare exceptions, nothing of a song. It differed from song as much as the declamation—barely colored by imperceptible modulations—of Boris Godounov and Pelléas; but on the other hand recalled the psalmody of a priest chanting his office of which these street scenes are but the good-humored, secular, and yet half-liturgical counterpart. . . . Several of the foodstuffs cried in the street, which personally I detested, were greatly to Albertine's liking, so much so that Françoise used to send her young footman out to buy them, slightly humiliated perhaps at finding himself mingled with the plebeian crowd. Very distinct in this peaceful quarter (where the noise was no longer a cause of lamentation to Françoise and had become a source of pleasure to myself), there came to me, each with its different modulation, recitatives declaimed by those humble folk as they would be in the music—so entirely popular—of Boris, where an initial intonation is barely altered by the inflexion of one note which rests upon another, the music of the crowd which is more a language than a music. It was "ah! le bigorneau, deux sous le bigorneau" [hey! sea snails, 2 sous a sea snail], which brought people running to the cornets in which were sold those horrid little molluscs, which, if Albertine had not been there, would have disgusted me, just as the snails disgusted me which I heard cried for sale at the same hour. Here again it was the barely lyrical declamation of Moussorgsky that the vendor reminded me, but not of it alone. For after having almost 'spoken': "Les escargots, ils sont frais, ils sont beaux" [Snails, they're fresh and beautiful], it was with the vague melancholy of Maeterlinck, transposed into music by Debussy, that the snail vendor, in one of those pathetic finales in which the composer of Pelléas shows his kinship with Rameau: "If vanquished I must be, is it for thee to be my vanquisher?" added with a singsong melancholy: "On les vend six sous la douzaine. . . ." [Get them for 6 sous a dozen]

It was true that the fantasy, the spirit of each vendor or vendress frequently introduced variations into the words of all these chants that I used to hear from my bed. And yet a ritual suspension interposing a silence in the middle of a word, especially when it was repeated a second time, constantly reminded me of some old church. In his little cart drawn by a she-ass which he stopped in front of each house before entering the courtyard, the old-clothes man, brandishing a whip, intoned: "Habits, marchand d'habits, ha . . . bits" [Clothing, seller of clothing, clo . . . thing] with the same pause between the final syllables as if he had been intoning in plainchant: "Per omnia saecula saeculo . . . rum" [For ever and e . . . ver] or "requiescat in pa . . . ce" [May he rest in peace] albeit he had no reason to believe in the immortality of his clothes, nor did he offer them as cerements for the supreme repose in peace. And similarly, as the motives were beginning, even at this early hour, to become confused, a vegetable woman, pushing her little hand-cart, was using for her litany the Gregorian division: "A la tendresse, à la verduresse, / Artichauts tendres et beaux, / Arti . . . chauts" [For tenderness and greenness, / Tender and pretty artichokes, / Arti . . . chokes].

Terror. The Mideast learned the efficacy of insurgent terror from Algeria. The PLO, Hamas, and other groups are indebted to the Algerian strategy of so-called "people's war." Its lessons are now apparent in Iraq, too. Yet the film treats the Algiers terror campaign as a failure: its later bombings and shootings are made to appear increasingly desperate and strategically pointless. "Wars aren't won with terrorism," says one key revolutionary. "Neither wars nor revolutions." But that depends at least in part on how the other side reacts to terror, whether the other side is France in Algeria or the United States in Iraq. Wars may not be won with terror, but they can be lost by reacting ineffectively to it.

When Gillo Pontecorvo heard that the Pentagon had organized a screening of his 1965 film "The Battle of Algiers" for a group of military and civilian experts last summer, he said he found it a "little strange." If anything, he conceded, his movie about the bloody uprisings that led to Algeria's eventual independence from France in 1962 was useful to "give an idea of the horror of the situation," not necessarily to teach Guerrilla Warfare 101 to a roomful of strategists pondering the current war in Iraq.

"I don't think that any film can teach anything," Pontecorvo said. "I think that the most that 'The Battle of Algiers' can do is teach how to make cinema, not war." The Pentagon viewing—to which participants were invited via a flier declaring, "How to win a battle against terrorism and lose the war of ideas"—came a few months before the re-release of the film in a new 35mm print. "Perhaps the reason they've dusted it off is Iraq," Pontecorvo said in an interview in his Rome apartment. "But action and love always work in the movies. They never get old and this is above all an action film."

The first thing we see of Belleville in the movie is the Château Frontenac in Québec City. We made numerous references to Québec City and Montreal, in trying to imagine how those cities would have looked if they developed in the way New York had. When Québec became independent, money was invested in Toronto instead, which is an English-speaking metropolis. The bridge that appears in the film is the Jacques Cartier Bridge, which is also surrounded by typical Québecois buildings. The Statue of Liberty image is a reference to the American way of life and to the incredible number of obese people you see in American cities. That is something that has always struck me.