A subtitle warns, "Beware of dark sunglasses." Anna and her lover, whose looks in bowler and bow tie are reminiscent of a young Buster Keaton, kiss chastely on a bridge overlooking the ...
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More than 40 years after making "Cléo de 5 à 7," Agnès Varda invites her star, two other cast members, and her assistant directors to look back. She takes us through the film, from opening ... See full summary »
While in San Francisco for the promotion of her last film in October 1967, Agnès Varda, tipped by her friend Tom Luddy, gets to know a relative she had never heard of before, Jean Varda, ... See full summary »
There are two parts to this film: sequences of life in the fishing village of La Pointe Courte (a government inspector's visit, the death of a child) alternate with others following a ... See full summary »
Jacquot Demy is a little boy at the end of the thirties. His father owns a garage and his mother is a hairdresser. The whole family lives happily and likes to sing and to go to the movies. ... See full summary »
The intertwined lives of two women in 1970s France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne ... See full summary »
A subtitle warns, "Beware of dark sunglasses." Anna and her lover, whose looks in bowler and bow tie are reminiscent of a young Buster Keaton, kiss chastely on a bridge overlooking the Seine. He dons sunglasses and waves as she runs down a stairway to the river's edge, then watches in horror as she's knocked flat and loaded into the back of a hearse. In vain, he gives chase. Disconsolate, he buys a large funeral wreath and a handkerchief from sympathetic vendors. He removes the glasses to wipe his eyes and realizes they are the cause of all his woe. He replays the farewell without the glasses.Written by
Filmed by Varda at the height of Nouvelle Vague's very short period of success with both critics and audiences, this short is a black and white silent comedy -- incorporated, in a slightly different version, in Varda's first feature "Cléo de 5 à 7" (1962) -- whose major interest today is the presence of a young Jean-Luc Godard (post-Breathless) as the protagonist. Emulating Buster Keaton's deadpan face and Harold Lloyd's fancy-clothed bespectacled romantic, Godard loves, disputes and saves his lovely fiancée, played by his then wife and muse Anna Karina (in a blond wig), and discovers that his somber vision of people and the world may very well be caused by his constant use of...dark-lensed glasses!
Varda tells us in her DVD introduction to this short that she wanted to show her friend Godard's beautiful, sad Buster Keaton eyes, always hidden behind his thick shades in everyday life. And she reveals to us what we've always suspected about JLG: that coupled with that genius wit, robotic voice and viperous lisping tongue there was a pair of sensitive, sad, soulful eyes. The short feels today like a heart-warming photograph of complex people allowing themselves to be slaphappy for a moment (even Eddie Constantine smiles!) and proves Varda's very special talent for capturing people's warmth and life-affirming vocation.
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