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Jane B. for Agnes V. (1988)
"Jane B. par Agnès V." (original title)

6.7
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Ratings: 6.7/10 from 146 users  
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Title: Jane B. for Agnes V. (1988)

Jane B. for Agnes V. (1988) on IMDb 6.7/10

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Cast

Cast overview, first billed only:
...
Calamity Jane / Claude Jade / Joan Arc
...
L'amoureux colérique
Philippe Léotard ...
Le peintre / Murderer
Farid Chopel ...
Le colonial
Alain Souchon ...
Le lecteur de Verlaine
...
Himself
Laura Betti ...
Lardy
Monique Godard ...
La sous-maîtresse
Ian Marshall ...
L'huissier
Les enfants Tooke ...
Les pauvres de Dickens
...
...
Le fils de A.
James Millard ...
Tarzan
Pascale Torsat ...
Le modèle du Titien
Henri Piednoir ...
Le boulanger
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Genres:

Biography | Fantasy

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Release Date:

2 March 1988 (France)  »

Also Known As:

Jane B. for Agnes V.  »

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Did You Know?

Soundtracks

Good Morning Little School Girl
Written by Sonny Boy Williamson
Performed by The Yardbirds
Editions Médoc
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This side of the image, not the other
11 July 2015 | by (Greece) – See all my reviews

This is in a format I wish we would get more of, the cinematic portrait. Marker and Godard would work out examples in a few years time, several of Herzog's work are portraits. These have the added benefit that, while we're still looking for life, they don't have to step through the structured formalities of drama to get to the person and the insights, the format permits an improvised reach, one of a few formats that do.

But someone still has to pose for them and a filmmaker has to take it down with his brush, apply colors. This is uneven in both respects. One reason why lies in a fundamental mismatch I perceive here. It's actress Jane Birkin posing for Varda, but Birkin is outgoing, sad or lonely in the mannered way of someone accustomed to the presence of a camera, used to grooming a self. Varda is drawn to the enigmas of ragged women, introverts or haunted in some way, or at any rate does her best work in the whirl of what is not fully controlled.

Here we get various enactments, Birkin as Tarzan's Jane or Joan of Arc, in a picnic with her French idol. We get conversations between the two women about how the ongoing film is being shaped, a web that will sort itself out in the end. Coteries of costumed people enacting tableaux, poses for the camera and blathering vignettes but at so few points do we pierce through cute play-acting to get the elusive stuff of life, at something not rehearsed because a camera will film it, ending up with the equivalent of a surreal magazine spread on a known face. So when it sorts itself out, it's less than the sum of its colors, merely a face.

A miss. Still, Varda manages to come up with flashes of inspiration in all this, she's always adept with pouring images, stirring flows of them. Above all the whole segment of Birkin rehearsing with Serge Gainsbourg - Birkin's ex-lover - is a small gem of intricately edited resonance, the only instance where Varda can hint at something on the other side of images.


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