Film texts and websites are apt to call director Agnès Varda “one of the best female directors of her generation”, but let’s start right off by saying the “female” caveat is nonsense. Even amongst the creative wellspring of the French Nouvelle Vague — which arguably began with Varda’s own debut feature La Pointe courte in the mid-1950s — she stands shoulder-to-shoulder with her more feted (male) compatriots Godard, Truffaut, Rivette, Resnais, Demy, Rohmer and Marker (amongst others). And as a demonstration of her talents, Cléo is pretty much peerless. It tracks in real time (albeit from 5 to 6:30pm), 90 minutes out of the life of its heroine Cléo Victoire (Corinne Marchand), as she awaits the results of a biopsy. Yet, despite this morbid premise, the film is utterly filled with the vibrancy of life, specifically that in the French capital, as Varda inserts semi-documentary interludes into Cléo’s travels around Paris, shooting street views through the windows of various cars and trams, crowded café scenes, or pavement attractions she passes by. There’s even an amusing silent film pastiche starring Godard and his then-wife Anna Karina. As in her husband Jacques Demy’s The Umbrellas of Cherbourg a few years later, the Algerian conflict lurks in the background as another pull towards the precariousness of life within an existential framework. However, the chief interest of the film is in the construction of Cléo’s identity, as she catches sight of herself in mirrors and is constantly looked at (and, she presumes, judged) by others. She changes hats, clothes and even hair throughout the film as a means to confound this gaze, as the film becomes the chronicle of her discovering how to live life on her own terms, such that the impending death sentence she believes the doctor will give her at the film’s end seems to be commuted by the sheer force of will of the film and of her, its heroine. It’s a glorious example of the best of early-60s French cinema, in beautifully-contrasted black-and-white photography and with a spirited lead performance.
Criterion Extras: There’s a clutch of high quality extras on this disc, no little thanks to Varda’s skill at the documentary. Her Remembrances (2005) reunites her with Marchand as well as a number of other actors in the film, and revisits some of the locations. She talks of the importance of the trees, as well as getting all the clocks seen in the film to be accurate. Better yet are some contemporary short films, including the luminous L’Opéra-mouffe (1958), a glorious piece blending a modernist score by Georges Delerue with documentary footage and avant-garde reflections on personal experiences like pregnancy and drunkenness; it’s the very soul of the nouvelle vague. Another aspect on this movement is Les Fiancés du pont Mac Donald (1961), much of which is seen within the film, being a silent slapstick pastiche with Godard and his then-wife Anna Karina, and which warns of the dangers of wearing glasses (a sly dig at Godard’s self-mythologising by Varda). There’s also a short travelogue filmed from a scooter which traces Cléo’s path through Paris, with an overlaid map in the corner and occasional inserts of film stills to show where the scenes were set. Finally, there’s a short French TV clip of Madonna lauding Varda’s most famous film, as well as a gallery of paintings by Hans Baldung Grien which inspired Varda. Oh and a trailer, of course.
FILM REVIEW: Criterion Collection
Director/Writer Agnès Varda | Cinematographers Jean Rabier and Alain Levent | Starring Corinne Marchand | Length 90 minutes || Seen at a friend’s home (DVD), London, Sunday 3 January 2016