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The 'Grandmother' on the New Wave
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11577 |
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Section : |
THE ARTS
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| Issue
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9 / 1986 |
1,446 Words |
| Author
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Debra Wishik
Debra Wishik writes frequently for New York newspapers. |
Agnes Varda has a worldwide reputation; she's referred to in cinema classes as the "grandmother of French New Wave," although her first film, La Pointe Courte, was made in 1954, five years prior to the start of the new filmmaking style. Varda, originally a photographer, makes both features and documentaries, including one, Far From Vietnam (1967), which expressed her protest of the American involvement in Vietnam. She even made a commercial for French television advocating freedom of choice and the right of women to have an abortion. Her films often debut at film festivals, and are publicized by extensive controversy.
Her latest feature, Vagabond, has already broken box office records in her native France, where it won the 1985 Best Picture Award of the French Critics Union; the 1985 Cesar Award for Best Actress; and the first prize at last year's Venice Film Festival. Varda readily admits some concern about the Americans reaction to Vagabond, explaining: "It could disturb audiences here who like a beginning, middle, and end. It really is a puzzle with some, but not all, of the pieces provided."
It is the structure of the film that makes the story unique. The opening shot is of bare trees blowing in the winter wind. The accompanying music is foreboding, the sense of death potent. Then we see a young, disheveled woman, Mona (Sandrine Bonnaire), who is hitchhiking despite the cold weather. Soon Mona is dead. A worker finds her body in a ditch. The remainder of the film consists of flashbacks to Mona's time on the road. The story isn't told from her point of view but rather from that of people she met along the way - other vagabonds, a farmer who tried to help her, an agronomist who befriended her briefly, a boyfriend, a mechanic, and
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