(If I can't write a short review, I can only record it here. This is a mixed feeling after watching it, not a film review.)
It's been a long time since I watched the French New Wave, and I saw it today in the screening room with Henri Langlois painted on the back wall of Le Grand Action, and it felt great. The elements that were repeated in the New Wave movies of those years can be found in this film: the fun of shooting street scenes and passers-by that have nothing to do with the plot, those elegant word games, those dialogues overshadowed by noise, those Unpredictable emotional flow... Compared with Godard and Truffaut, Varda's film has a gentler and smoother feeling; from costumes to actions, this film is as delicate as those male directors. Their works are inferior. Unlike Godard's explosive presentation of innovations, Varda's films are full of delicate, eccentric quirks, but she's not ostentatious but playful. As soon as I came up, the white and black polka dot skirt worn by the heroine perfectly matched the white and black polka dot floor in the corridor from the Tarot fortune teller's house, which brought this film into a high aesthetic... One and a half hours The movie, which took an hour and a half of Cleo's life, seems to be a real-time filming of life, and it is like a reality show of that era... The form of innovation is matched with the delicacy of brushstrokes, plus my own The colorful splendor of the familiar city makes it very comfortable to look at. The little burlesque play starring Godard and Anna Karina in the middle is also very cute.
In the first half, the heroine is more like an obget ("Everyone loves me, no one loves me."), in the second half, she walks out of the bedroom (which is completely unreal) and goes to the city, gradually recovering her emotions . Cléo is the stage name of the heroine and Florence is her real name. These two identities are reminiscent of the hero of Pierrot: when he is called Pierrot, he always responds loudly: My name is Ferdinand. I vaguely feel that these two films actually have a lot of things to compare them with: one is the wandering history of a down-and-out man, the other is the mental journey of a popular actress; the other is a road movie in southern France, and the other is the city of Paris shuttle……
Plus, under the playful tone, some things in this film were actually quite bold at the time: although not as radical as the "Little Soldiers" after Godard, in 62 years before the Algerian war was over, the film bluntly The war is mentioned, and the disgust of the war is expressed by the words of the soldiers at the end; while the female partner who is a model in the sculpture studio is completely nude in a posture without a bit of pornography (later the heroine and the soldier have a discussion about nudity a discussion), which was absolutely extraordinary in France in the early 1960s.
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