Among the most amazing documentaries of all time: The Sorrow and the Pity

Have watched Marcel Ophuls's 4+-hour 1969 documentary, The Sorrow and the Pity, over several takes; though the work is technically and technologically really dated - the grainy b/w film, the poor sound quality, the awkward framing of images, the clunky subtitles, the jumpy editing - it's still in its raw power among the most amazing documentary films of all time. Ophuls and his team focused on one town in France - Cleremont-Ferrand - to unravel the many complex relationship among and between the French residents of the town and the German occupiers during the years 1940-44. Incredibly, Ophuls received cooperation from and interview footage of not only the obvious sources - membes of the French resistance, mostly tough, agrarian workers who don't seem especially political but who proved themselves to be strong and brave patriots, but also from French collaborators, now 25 years later ans till smug and self-assured, and even from several of the German occupiers, one in particular who speaks while smoking a fat cigar at some kind of  celebration in Germany - perhaps a wedding? - and surrounded by (silent) members of his family. The film makes in clear the Petain, though he may have thought he ws saving France by forming an alliance with the occupying Germans, was a horrible coward and traitor, and those who backed the Petain government were motivated by cowardice, self-interest, class prejudice, and anti-Semitism: Who can forget the shopkeeper who calmly explains why he took out newspaper ads proclaiming that, though his name (Klein) may sound Jewish he was not a Jew? The Germans all say they were treated well by the French and had good relationships with the people of C-F, which may be how they perceived the matter (and there were plenty of willing collaborators), but it's amazing how little they sensed of the hatred beneath the surface. The long film ends with an interview w/ a woman who had her head shaved in public after the war in retaliation for her relationships w/ German soldiers - now an elderly woman, harshly maintaining that she was framed. Then we see Maurice Chevalier proclaiming his innocence - he only visited a German prison camp to keep the French soldiers happy! - and shots of De Gaulle's reception in Paris. The film does not dwell on this point, but you can't help but think as you see the screaming crowds: Where were you during the war? And where, now, are all the Jews of France?