La Pointe-Courte

La Pointe-Courte was the first feature written, edited (in part, with Resnais) and directed by Agnes Varda, but she came previously from still photography, and her clarity, empathy and specificity with a place and it's many details, from the rocks of the shore to how the water shimmers to the plethora of cats (and of course someone even comments on that), is evident right away. At time of writing this, I don't know the full backstory of how she came to become close and immerse herself with the people in this seaside town or village or whatever you call it, but they clearly are open to her and welcoming for her to see and show us all how they fish and talk among themselves and discuss matters important to them- such as outsiders coming in to tell them what to do. And sometimes we get to look close at a detail like how small snakes and crabs go into a bucket.

I don't think Varda would use this term, but like La Terra Trema or Stromboli, it's a depiction of a time and place, in crisp black and white 35mm film, that is authentic and unvarnished and a bit neo-realist-y. She also places a love story at the center which is coming apart at the seams, and in case it isn't clear the man and the woman walk and talk for minutes on end and speak on their hopelessness for their relationship (or more the woman than the man, he would like for it to work and she sees nothing productive ahead).

This is shot at points like a director figuring out what a style will be, and there are a few times shots are styled to be reflective of the characters abstract feelings, perhaps to each other. When the woman talks to her man, who will soon be her ex, she does that thing Bergman would do a decade later where her face is split down the middle by the man looking the other way (so like him one way her another but not at each other), and he does so too. Or with the two of them carrying on their conversation facing the camera in different places shot to shot. This latter part works well, in a poetic-detached sort of way. The other proto Bergman ones, maybe not so much.

Like watching Kubrick with Killer's Kiss or Fear and Desire, the fascination is getting a look at the Start of it all from a talent with a sharp, dramatically alive set of eyes, and in here where the sensibility of Varda was as someone who, in her case and in what I find very inspiring in the opposite way of like a Scorsese or his ilk, wasn't inspired or taking in homage from other films. From what I've read, she wasn't a Film Buff like the other Nouvelle Vague who would come up after and with her, and was just inspired more by what she was interested in: working class people who work hard and live hard and are noble, the delicacy in the poetry of movement, and cats. If this film is a little less than great or just compared to her other films it's that the strengths lie in the more documentary aspects. The (falling apart) love story is sincere but less convincing, maybe because the actors are mostly the same morose-detached tone for the entire time.

La Pointe-Courte is a very impressive debut, and for what it may be lacking in satisfying relationship scenes it more than makes up for with everything, all the local people and their minor joys and sadness and world weariness around the central characters. In other words, half of it is captivating because of the people Varda has found and made into movie stars, and the other half that is more like a "Film" is a bit more pretentious.

La Pointe Courte is a small jut of land on the east side of Le Canal de Sète, which connects L'Étang de Thau to the Mediterranean Sea. In the mid-1950s, it harbored a small fishing village (perhaps it still does, for all I know) which provides the setting for this film. Written and directed by 26-year old Agnès (née Arlette) Varda, this, her first and perhaps her best film, is credited by some film critics and historians as the first in the French New Wave.

A young (24) Philippe Noiret plays a native of the village who returns from Paris after many years for a short vacation. Heretofore, I was familiar with Noiret only with some of his much later films. Silvia Monfort, with whom I was previously unfamiliar, and who had one of the most unusual faces I've seen on film, plays the disillusioned Parisian wife who joins him five days later to discuss their marriage.

What's interesting about this film are its two intertwining parts. One part, shot in a familiar narrative style, concerns the everyday life and concerns of the villagers. The other part depicts the conversations of the couple in an artistic style full of fascinating images and interesting camera angles, a style which takes full advantage of Varda's photographer's eye. (Varda used three different cinematographers on this shoot, but I don't know which of them photographed which scenes.)

Varda chose the location for the film after a visit there for an assignment as a still photographer. What I liked best about the part involving just the couple were the slow pans of the environments, almost as if Varda were trying to capture the characters' surroundings in a series of stills. On the other hand, I found somewhat disturbing the obtrusive soundtrack of a clarinet, which went counter to the notion that a soundtrack is supposed to enhance the mood of the scene, not play against it as I found this to do. Perhaps that is part of what accounts for this being credited as a New Wave film.

Agnès Varda began her career in 1954 as a feature film director with this movie that tells two separate stories in reciprocal counterpoint: daily life at a fishing village near Sète in France with its joys and dramatic moments and the relationship between husband and wife when she who is a Parisian returns to him after he had chosen to return to his birthplace where he feels now very happy but that doesn't seem to please her very much at first and puts their marriage in danger. This situation is given in a series of soft dialogues between them which don't reveal themselves deep and meaningful enough to make us feel the sentiments behind them. Varda has done much better later with such very good movies like "Le Bonheur" or "Cléo de 5 à 7". However this movie is also classified as a landmark in the New Wave of French cinema that began about that time with names like Truffaut, Godard and Chabrol. It's this historical value that mainly makes this movie worth to be seen.

Highlights:

• Visually often very beautiful.

• The exploration into marriage and what happens to a relationship after the initial thrill, discovery, and romance phase transitions into less pyrotechnics, and just knowing the other person almost as a part of yourself. The woman (Silvia Monfort) misses what she once had, whereas her husband (Philippe Noiret) is more content, and the two talk about it in very honest ways.

• The film seems to be right at the nexus of Italian neorealism and the French New Wave, with interesting aspects of each. It shows us the world of these (real) working class fishermen with their homes filled with kids, and does so with the flair of creative technique. Hooray it was made by a woman director, Agnès Varda.

• Loved the jousting scenes in the canal.

• Also loved the black cat doing an impromptu stretch in the background of one scene, effectively stealing it from the couple.

Lowlights:

• The story is lacking. There's a point in putting the cultural traditions of the fishing villagers and their occasional struggles with life side by side with this couple's difficulties in the cultural tradition of marriage, but the connective tissue is tenuous, and there isn't a lot going on here that's truly compelling.

• While the marital conflict is interesting and the dialogue explores it reasonably well, the way the actors deliver their discussion is so passionless it's as if they were sleepwalking through their roles. I believe it's meant to reflect the state their relationship has gotten to, but I think it was carried a little too far.

• The score is weirdly jaunty, and it's awful. It's almost as if the newness of the film style made figuring out what type of music would go with it a mystery, either that or it was an attempt to breathe life into what is a pretty quiet film. Either way, it doesn't work.

• Did we need the shot of the dead cat?

Agnes Varda's debut feature from 1955. Since her passing earlier this year, Varda's career & output is now being given a relook, as it were, beginning w/this initial outing recently introduced on the Essentials series on TCM by Ben Mankiewicz & Ava Duvernay. Starting out as a photo assignment, this film became a travelogue of sorts whereby a married couple return to the groom's home town & we see the daily life of the denizens as they have to deal w/bureaucratic city officials checking up on illegal fishing, extended families as they stay prominent in each other lives & the town's annual bazaar is upon them. Feeling more like a documentary (a specialty of Varda's) this is a rewarding feature which plays slowly but is engrossing nevertheless.