Agnes Varda's debut film, 1955
Varda's camera adopts a compartmentalising approach; with a straight-on ish series of takes, usually long but for emphasis closer, there is clearly marked by differences of colour, by geometric lines across, and in the simple framing that the screen works in seperate areas. This allows intrusion in one area, at quite a different depth, in mid scene. Often to our left or right there will be a close up figure, looming over a figure at an entirely different depth, who is very much kept to their compartment of the image. The image often works with a part in great depth, dark stretching out to fields, a road, the river in the distance.
This film opens with a remarkable, huge tracking shot, and the freedom of movement in such long tracks (usually) and pans (often) is pronounced. Our camera roves in an almost 'Slacker' like manner around the locale, creating powerful images with high contrast and often strong whites and darks in the pungently created locale. Actions usually start off screen, the action moves into the camera rather than the camera framing it, then continues beyond. This increases the peripatetic feel of the piece. It creates a wonderful, with strong uses of off-screen sound, accurate and detailed dialogue, examination of the life of the fishing port. This is when this film is at it strongest.
It is rather waylaid by the rather self-conscious high fallutin' conceit of the metropolitan couple's conversation. Using 'Persona' esque juxtaposition of faces, much slow walking and moping, static compositions, this rather jars in its creation of a completely different world from what is otherwise a fascinatng verite study.
The life of the fishing port is captured in movement, calmly and evocatively, to create a terrific picture in parts here.
No comments:
Post a Comment