Clo from 5 to 7 - Movie Review Example

Cléo from 5 to 7 Professor Subject Date The movie Cleo from 5 to 7, a translation from the original French: Cleo de 5 à 7 of the year 1962 is as Left Bank film production with Agnes Varda as the director. In the story, it sets off with a young upcoming singer by the name of Florence “Cleo” Victoire, who is waiting eagerly for her medical diagnosis. This happened in June 21 of the same year at around 5pm to 7pm. The medical results were to confirm a diagnosis of her possibility of having stomach cancer. This film has diversity in handling of different themes related to existentialism. It includes the three broad discussions revolving around mortality, the desperation idea, and the leading of a life that paints a meaning. This film majors in the priorities of a woman and depicts an extremely strong feminine viewpoint that seeks answers to the question of how the feminine world happens. This is in the use of the broken mirror which helps in shading the self-obsession picture so prevalent in the film. This film features cameos done by Jean-Luc Godard, Anna Karina, Jean-Claude Brialy, and Eddie Constantine takes the position of the characters. Their character position is in one of the silent film Raoul shows Cleo together with Dorothy. On the other side, Michel Le Gerand, who is the composer and a writer to the film’s score takes the part of a “Bob” the famous pianist. This film caught many of its audience, and it was successful in entering the Cannes Film Festival that happened in the year 1962. The film dispenses in a single-camera-take mode in which other films of that time like the Hitchcock saw it attractive and cleverly faked. Just as no other conventional narrative film, this is as jazzily shot and heavily edited. Varda considers the immediacy and its resulting tension coming when such situations occur. The film brings out the difference with other traditional story films in a way that it does not skip time and space. Varda made sure each second piling up, all the steps taken were in the story line. Her selection of the site in the gauntlet walk is superb; the left bank of Paris is indeed a reservation for her audience in the early sixties which has a characteristic of vibrancy and diversity. In her own perspective, Varda had a good description of the film to be the “figure of a woman portrait featuring in a documentary about Paris.” It is something that take one a back the fact that the exact film has a double concept of space as well as, time. In this, the viewer understands every point where, and he can trace a clear path of the Cleo’s moves and even being possible able to consider a touristic re-creation of the whole journey she has had just as displayed in the film from the last to the first second. As the film shows, the literal time Varda considered even in the coming up with the name of the film is her only cheat. This is because the time the film itself take is a one and a half hours; from 5:00 to 6:30. Though had the film been only a virtuosic usual practice or rather a cleverly choreographed walk across the street, then, the probability of it hitching the top would have been vain attempts. This release portrays Varda to have devoted a better portion of her art as a mirror to convey the looks of a physical eye and more so basing on the feelings of the same world she lives in-the feminine world. The manner in which the world process it in mind, body, and heart together with the various ways in which it interprets it thus subtly succeeding in shaping it into something that looks real-which is the modern way of expressionism. Varda has dealt with the common perception in men who constantly think what they feel is same as their feminine counterpart’s feeling. Rather, as early in her career, she declares that also gender matters in the cinema and art circles. This theme has also been seen even in other film she has done such as the Vagabond (1985), the Gleaners and I (2000). As easy as it is to hail her as a pioneer of feminism in the cinema circles, Varda shows some resistance to this title. Though Cleo de 5 a 7 was a release seen as a have come before its time, therefore it is a “postfeminist” that portrays a complex picture of a woman, as Varda is the central character in the movie, she seems to be an unlikely at the same time a surprising choice. This is evident as we see Cleo going through moments of love and suffering. Though this is hard to identify because of her agonizing wait for the doctor’s word that should decide for her future life, the situation is gloomy but she is also petulant, frivolous, and scanty (Martin, 2008). Varda has given herself a ’superficial’ vocation in the pop circles as a pop singer with a privilege of her former lover, who was well-off wafts in and out with ease. Varga tries to avoid the easy sentiments and rather deliberately blocks the way that could lead to an immediate sympathy with her heroine. Cleo, which is also, the stage name of Corinne Marchand evoked the Seberg of Jean’s Breathless also with the anticipation of the pop phenomenon known as the yé-yé girl singer famous in France. Hers was to a peculiar modern audience in the twenty first centuries, a remarkably prophetic apparition. Others would see her as a Paris Hilton type, fibered into new-age fads. Just like the artist of the time Federico Fellini, she too had shown of finely prescient sense that depicted a rapid mutation happening in the contemporary lifestyles. Due to the structure of the Cleo from 5 to 7 being on a real-time manner, the film changes just as any other filmic context would be in vain or rather unspectacular into a drama. Therefore, by doing this, Corinne Marchand changes from the distraction and from being a self-obsessed performer to be someone that we feel and identify with and fix ourselves easily into her situation thereby caring about it. The journey she had may be uncluttered and could look straight forward as judged on the geographical levels. Though she passes through the parks and making a number of stopping at the shopping, studios, and café, the other hand her emotional pathway is experiencing quite a different test. This is because it goes into depths accumulating reminders of deaths (Examples of this includes the African masks on which she spies when she was in the shop window). This is also seen when she stumbled on top of the unexpected epiphanies (Martin, 2008). This has enhanced the film by helping it trace an arc from the brittle, normal worldly wisdom as given by the Cleo’s assistant by the name Angele(her real name is Dominique Davray), to the thrilling romantic as presented by Antoine Bourseiller (with a stage name as Antoine) who is a soldier on his leave. The vigor which cut between the two, Cleo and Antoine as they are on the streetcar as the story nears its end is also seen as Varda’s way of re-creation that mostly practices in the classical eras of the restoration of love between a couple. Varda’s Cleo from 5 to 7 shows a clear and a delightful air of freedom. This freedom evokes a paradoxical paint within the constraint of the film’s real-time format. This was later to face a series of challenges at the time of shooting and even after production. This film has an elaborate way of displaying the playful nature, punching holes its own careful structure built in the illusion of moments that cascade carefully. The likes of that solemn moment when the Cleo’s early shot as she descended on the stairs, repeats thrice in an edited loop together with the time, she disappeared in a paravent only to make an appearance short after with a new attire. The richness of a color gives way to black and white credits which is one of the many ways in which the cinema artifice in practice. The time Cleo has been least attractive in her character was her propensity in the action when she dropped her hat. As she progresses to the middle of the new wave, Varda’s film shows a prime obsession of the then youth cinema of her times in the early sixties. These depict the eternal now that flashes back in a balanced intensity. Just like Godard or Jerzy or Skolimowski in heady period, the director of this film Varda uses flashbacks to gets us into the breathless present-tense as she unfolds the precious one and a half hours of Cleo’s life. The two dialects; personal time and the real time, the mundane and hyper-real, are as a double real. Also, she has employed hoping from now and the eternity together with a cosmic visage (Martin, 2008). As the film tends to the end, Cleo, though she has not known her results, she seems released, and the tension seems to have left, serenity, love and a hope that spurns her to the future beyond the second-to-second jail confined in the clock-driven life. Reference Martin, A. (2008) Cléo from 5 to 7: Passionate Time. [Online] Available from: http://www.criterion.com/current/posts/499-cleo-from-5-to-7-passionate-time [accessed: 11th April, 2013] Read More

As the film shows, the literal time Varda considered even in the coming up with the name of the film is her only cheat. This is because the time the film itself take is a one and a half hours; from 5:00 to 6:30. Though had the film been only a virtuosic usual practice or rather a cleverly choreographed walk across the street, then, the probability of it hitching the top would have been vain attempts. This release portrays Varda to have devoted a better portion of her art as a mirror to convey the looks of a physical eye and more so basing on the feelings of the same world she lives in-the feminine world.

The manner in which the world process it in mind, body, and heart together with the various ways in which it interprets it thus subtly succeeding in shaping it into something that looks real-which is the modern way of expressionism. Varda has dealt with the common perception in men who constantly think what they feel is same as their feminine counterpart’s feeling. Rather, as early in her career, she declares that also gender matters in the cinema and art circles. This theme has also been seen even in other film she has done such as the Vagabond (1985), the Gleaners and I (2000).

As easy as it is to hail her as a pioneer of feminism in the cinema circles, Varda shows some resistance to this title. Though Cleo de 5 a 7 was a release seen as a have come before its time, therefore it is a “postfeminist” that portrays a complex picture of a woman, as Varda is the central character in the movie, she seems to be an unlikely at the same time a surprising choice. This is evident as we see Cleo going through moments of love and suffering. Though this is hard to identify because of her agonizing wait for the doctor’s word that should decide for her future life, the situation is gloomy but she is also petulant, frivolous, and scanty (Martin, 2008).

Varda has given herself a ’superficial’ vocation in the pop circles as a pop singer with a privilege of her former lover, who was well-off wafts in and out with ease. Varga tries to avoid the easy sentiments and rather deliberately blocks the way that could lead to an immediate sympathy with her heroine. Cleo, which is also, the stage name of Corinne Marchand evoked the Seberg of Jean’s Breathless also with the anticipation of the pop phenomenon known as the yé-yé girl singer famous in France.

Hers was to a peculiar modern audience in the twenty first centuries, a remarkably prophetic apparition. Others would see her as a Paris Hilton type, fibered into new-age fads. Just like the artist of the time Federico Fellini, she too had shown of finely prescient sense that depicted a rapid mutation happening in the contemporary lifestyles. Due to the structure of the Cleo from 5 to 7 being on a real-time manner, the film changes just as any other filmic context would be in vain or rather unspectacular into a drama.

Therefore, by doing this, Corinne Marchand changes from the distraction and from being a self-obsessed performer to be someone that we feel and identify with and fix ourselves easily into her situation thereby caring about it. The journey she had may be uncluttered and could look straight forward as judged on the geographical levels. Though she passes through the parks and making a number of stopping at the shopping, studios, and café, the other hand her emotional pathway is experiencing quite a different test.

This is because it goes into depths accumulating reminders of deaths (Examples of this includes the African masks on which she spies when she was in the shop window). This is also seen when she stumbled on top of the unexpected epiphanies (Martin, 2008). This has enhanced the film by helping it trace an arc from the brittle, normal worldly wisdom as given by the Cleo’s assistant by the name Angele(her real name is Dominique Davray), to the thrilling romantic as presented by Antoine Bourseiller (with a stage name as Antoine) who is a soldier on his leave.

The vigor which cut between the two, Cleo and Antoine as they are on the streetcar as the story nears its end is also seen as Varda’s way of re-creation that mostly practices in the classical eras of the restoration of love between a couple.

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