Quem é Polly Maggoo?

Lesser known French New Wave filmmaker (lesser known probably because he was actually an American directing movies in France) William Klein directs this crazy film about model Polly Maggoo (Dorothy McGowan). The film is narratively insane - it goes everywhere and anywhere on a whim without too much of a clear story. It's reminiscent of Godard's more fun films, or maybe even some of the stuff Richard Lester was doing at the time like Help! and The Knack. It satirizes both the fashion world and filmmaking (Maggoo is besieged by a filmmaking crew doing a doc on her). A lot of cool images here. Not for those who insist on a strong narrative, but I enjoyed it a lot.

French satire of the fashion industry from director William Klein stars real-life Vogue model Dorothy McGowan as Polly Maggoo, a supermodel from Brooklyn now a sensation in France, being followed everywhere by a film-crew eager to find the real woman behind the glamour. Lots of targets (mostly dry little pokes at the pretensions inherent in the world of fashionistas), romantic fantasies, and behind the scenes indecision. Stylishly presented (if awfully choppy) in black-and-white, with some droll commentary, though its sense of humor is ultimately a matter of taste. *1/2 from ****

Too bad this European cult film of the Sixties, written and directed by an American whose photo documentary reportage on New York, Rome, and Tokyo is legendary, is all but impossible to track down here in North America. After years of fruitless searching I finally attended two screenings at the Whitney Museum of Art in 1997. The main draw in this film for me was Grayson Hall, who portrays Miss Maxwell, Editor of Vogue magazine--a character so closely based on Director William Klein's former boss Diana Vreeland, it's amazing Vreeland didn't sue for libel. Grayson Hall was flown over specially from America to do this. Try to get the original French language version--she spoke French and her accent, and delivery, are priceless. (She referred to the experience acerbically as "Hell, honey!") The film's eponymous star Dorothy MacGowan was chosen at random from a crowd shot of Beatles girls welcoming the Fab Four at a New York airport. MacGowan stands at the center of a wildly gyrating scenario that satirizes pretty much everything in mid Sixties French society that is or isn't nailed down--politics, fashion, the media, the idealization of rural life and French traditions--taking frequent detours into fantasy sequences and even including some animated segments that must have helped inspire the animated interludes in the original Monty Python series. The score by Michel Legrand has some brilliant moments, particularly during the opening sequence featuring sheet metal fabricated fashions; the rest of the film never quite lives up to the promise of this inaugural tour de force.

Still, as a time capsule of Sixties effulgence, it's well worth tracking down. Let's hope somebody "rediscovers" it and brings it out on video, pronto! With the original letterbox ratio, bien sur.

Klein might have been a photographer extraordinaire, but his movies are through distorted lens. To clarify, the distortion isn't always for worse. Picasso too could be called drawing distortions, and Klein's movies too are - the works of abstract art. In these abstract arts, it is difficult to really identify what is real, and what is the fantasy. It is left on the viewer to interpret it, through his/her own judgment. The premises of the movie is, The reality TV program, OK TV does a "Who Are You" series on various famous personalities, the real person behind the public appearance. In this segment, they have chosen their subject as the super-model, Polly Magoo. Though it is on surface on Fashion and Glamour industry, but it could be any other industry, which has a high degree of public exposure - movie actress, politician,.... The key person of the series, Grégoire (Jean Rochefort) tries to unravel the mystery of Polly (real life Super-model, Dorothy McGowan). He practically lives with her, shadowing her every moment, trying to understand the person, carrying out various psychological tests etc. Meanwhile there is a Prince of a foreign country, who had been obsessed with Polly, through her photographs, and as a result the Queen dispatches first spies to trace Polly, and the Prince follows, to make a Princess of her. In the sides, though in major roles in plot are two other characters, Miss Maxwell (Grayson Hall), as the Fashion Magazine editor (Publicist, if we think of it, in general, not limiting to the Fashion), and Isidore Ducasse (Jacques Seiler), the couturier (the manager/ adviser/ groomer/ secretary/ speech writer,...). The thick paint on her face, hides Polly's freckles and the fashion house had made an asset of some of her physical shortcomings (e.g. her rabbit like incisors or lack of bust). In this, the real person is lost. Till, the Grégoire tests brings out some of it (though she points out, he himself is living at no less masquerade than her). In the end, the Cinderall had to chose who was her real prince charming, Prince Igor (Sami Frey) or Grégoire (Jean Rochefort), and the end has me a bit confused about her choice, it could be either. Or was it that brain (to be a Princess) won. It seems to be so, considering the teenager as the passive observer in the crowd.

This not only seems a satire on Klein's boss, Diana Vreeland (as some reviewer had mentioned), but it seems to be very highly autobiographical. The two protagonists, Dorothy McGowan and Klein are still alive, so probably they could tell. This was the very last public appearance of any kind of screen, still or moving, by Dorothy, and she retired at the age of only 26 or so. She was born in Brooklyn (like Polly). If I take it as her biography, it looks to be surprisingly similar, was Klein : Grégoire or Isidore (the presenter) ? Was per chance Klein too enamoured with her, not only through Camera, or it was only professional obsession (Isidore). It could be like many Composers have with singers, when they write opera specifically for a particular one, or directors with actors (of either gender), without anything remotely amorous in their relationship). Was Prince Igor Didier Dorot, who took her away ? A movie need to be watched again, especially towards the end, though there are hidden meanings everywhere (including the dinner scene, where the people make fun with her name).

This film began very well and I had high hopes until I realized it was an Absurdist film--one that deliberately doesn't make sense and is designed to make normal people feel left out and confused. It's really a shame, as the opening sequence at the fashion show was fun and had a great point to make about the absurdity of fashion (particularly in the silly late 1960s). The ladies are all wearing clothes made from what appears to be tin or aluminum and they look like total idiots--all the while, the elite declare the clothes to be brilliant and works of art. Unfortunately, after this great sequence, it seems like the rest of the film is a deliberate attempt to appeal to the "sophisticated" and snobbish art film lovers, as the film is filled with seemingly bizarre and pointless scenes. While the film was not made by a Frenchman, it was in French and the film fits well within the French New Wave movement--which viewers will probably either love or hate. As for me, this film was tedious and I did not enjoy it in the least. Perhaps I am just too Bourgeoise in my sensibilities (or perhaps I just want a movie that makes sense).