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La Pointe-courte (DVDrip - 1954)
81 min | XviD 576x432 | 1122 kb/s | 130 kb/s mp3 VBR | 23.97 fps |B-VOP | 700 MB + 3% recovery record
French | Subtitles: English and Spanish .srt | Genre: Drama | RS.com
The great Agnes Varda's film career began with this graceful, penetrating study of a marriage on the rocks, set against the backdrop of a small Mediterranean fishing village. Both a stylized depiction of the complicated relationship between a married couple (played by Silvia Monfort and Philippe Noiret) and a documentary-like look at the daily struggles of the locals, Varda's discursive, gorgeously filmed debut was radical enough to later be considered one of the progenitors of the coming French new wave.
This film, Varda's directorial debut, is as impressive and accomplished as any of the other New Wavers' debuts. It's definitely on the same level as Jean-Luc Godard's Breathless, Francois Truffaut's The 400 Blows, or Alain Resnais's Hiroshima, Mon Amour (Resnais actually worked as the editor for this film). I actually think I prefer it to all three of those (as well as the other three films of Varda's that I've seen). Historically, it's one of the most fascinating films I've ever witnessed. It, in one of its two sections, sprouts from a mixture of both French Poetic Realism of the 1930s and Italian Neorealism in the 1940s. It contains the social drama of such Neorealism classics as Visconti's La Terra Trema, as this plotline deals with a group of poor fishermen and their families. However, Varda doesn't play this hand melodramatically at all. Even when a character dies, we only witness his mourning in a precisely documentarian way. We aren't asked to feel any real emotion for him, which, for some reason, makes it all the more profound. In this way, the film resembles the French poetic realism classics. L'Atalante is clearly echoed, as stray cats occupy many empty spaces in the composition; they appear in nearly every scene in some capacity. Also, the village festival that takes up most of its tail end resembles very much the folksy rural wedding at the beginning of L'Atalante. The film also contains the good humor of Vigo's masterpiece. The second half of the film alternates with the first, switching over exactly every ten minutes, a technique which Varda kind of pilfered from William Faulkner's Wild Palms (aka If I Forget Thee, Jerusalem), a novel which Godard brings up in two of his films, Breathless and Two or Three Things I Know About Her. This second half points toward the future. The French New Wave, just getting underway in 1956 (although the program notes that I received insisted that it was made in 1954), comes to full bloom here. This half, which deals with a husband and wife who have started to grow tired of each other, consists of beautifully choreographed and composed shots of the two lovers strolling along the beaches of the fishing town. The style here is instantly recognizable as one which Resnais would adopt in Hiroshima Mon Amour and Last Year at Marienbad, and even has that semi-resigned feeling to it, as if, in a way, it's half-joking. What's really shocking is that this section does not just predict some of the techniques of the French New Wave, but also the style of Ingmar Bergman's films. I would doubt that Bergman was influenced at all by this film, as it's doubtful he ever saw it. Besides, he was well on his way to hitting his peaks by 1954, as we can see from such early masterpieces as Sawdust and Tinsel. But there are some shots in this film that, once again, will instantly call to mind nearly identical ones from films such as The Seventh Seal and, even more so, Persona.IMDB comment
La primera película de Varda, considerada la precursora de la Nouvelle Vague, fue un largometraje de ficción, La Pointe courte. (...) Combinación de azar y deseos imprevistos, La Pointe courte traza ya el programa cinético de la ficción vardiana que ésta respetará a lo largo de los años: rodaje instintivo un poco a la manera del cinéma-vérité, una historia que discurre por una doble línea dirigida por la pareja que la protagoniza, composiciones que se fían del movimiento de los cuerpos, de los objetos, de la luz y de los sonidos (a menudo con una voz en off) y puesta en relación de la objetividad de los hechos sociales y la subjetividad del individuo, donde la figura central es la mujer (hay feminismo en el cine de Varda como lo prueba L'Une chante, l'autre pas). El rodaje poco ortodoxo se traduce también en un resultado poco ortodoxo: una película no convencional en forma y contenido que a menudo ha dividido a la crítica.
Subtítulos en castellano de un servidor.
Un couple prend pour la première fois, après cinq ans de mariage, 3 ou 4 jours de vacances à la Pointe-Courte : c'est un coin déshérité du port de Sète, fait d'étangs insalubres et de maisonnettes de pêcheurs. Lui est du pays : son père construisait des barques. Il est marié et vit à Paris. Quand elle le rejoint, c'est avec l'intention de rompre : non qu'un drame soit survenu ou que les caractères se soient heurtés. tout est calme, trop calme ; ce qu'elle n'arrive pas à admettre c'est l'évolution de leur amour, l'évanouissement de la passion. Elle en conclut : habitude et mort ; et lui s'applique à lui faire découvrir qu'au lieu de s'obstiner à aimer « leur amour », elle devrait l'aimer « lui », comme il l'aime « elle ». Le film tient en cette unique conversation, échelonnée au gré d'une promenade au bord des étangs, de haltes au fond d'une cale ou sur les pierres ; en contre-point, la vie de la Pointe-Courte, où l'on pêche des coquillages en se cachant du Service de l'Hygiène, où l'on organise chaque dimanche un petit tournoi sur l'eau, où l'on danse, se marie, va en prison et meurt sans histoire, dans un climat de vie de famille. Ce climat aidant, le couple repartira ayant fait le point, ayant décidé un nouveau « départ », et certain de n'avoir pas perdu au chance.
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"In politica, prostia nu este un handicap". - Napoleon Bonaparte
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