的确,无论从地理方位上还是从作品主题上讲,《再见吧,孩子们》都是一部重返故土的影片。跑易·马勒离开法国10年了,但他拍摄的美国影片却仍然毫无间断地属于那种无法归类的作品:它既无统一的题材,亦非以植根于故土为其特征。与特吕弗、罗梅尔(Rohmer)、里维特(Rivette)或戈达尔相反,马勒总显得成功机遇极少,做出一幅不怎么合时宜的模样,他因此而属于新浪潮派。倘若称他为该 Indeed, “Goodbye, kids” are both films that return to their hometowns, both geographically and in terms of their work. Running Elie Mahler left France for 10 years, but his American films are still uninterrupted and belong to the kind of non-categorical works: it has neither a uniform theme, nor is it rooted in the characteristics of the native land. In contrast to Truffaut, Rohmer, Rivette, or Godard, Mahler has always had a very small chance of success and made a less-than-timely appearance, which led him to the New Wave. If you call him that