It's a fundamentally
minor movie, distinguished chiefly
by its gorgeous black - and - white cinematography and little bursts of comic strangeness, like a smitten preteen with a deep, manly voice and the soul of a
poet.
Finding ownership and monetary success far more acceptable and easily obtained than his more nebulous ambitions, Nan becomes placated
by the rhythm of the
minor successes and setbacks, a monotone of «success» in process, gradually distanced from his desire to be a
poet, and from the memory of his first, passionate love.