“The pressures here in Hollywood are so great, from all the dead people,” opines Warhol superstar Viva in Varda’s experimental feature, shot in Los Angeles in 1968.
Long unavailable, Agnès Varda’s award-winning Lions Love is an epochal look at America in 1968: a meditation on freedom, fantasy, decadence, and the Summer of Love going sour. An elusive 60s cult classic.
Agnes Varda makes an Andy Warhol film, but puts a lot more effort into it, and it shows. To star with, it's beautifully shot in Living Color ( as they called it in the 1960's) and the 1960's, especially 1960's Hollywood, deserves to be seen in color. The wallpaper! The clothes! The hair! with Warhol staple Viva Superstar and HAIR creators James Rado and Jerome Ragni.
Set in the late 60s, when the "background noise" was intensive, when people lived their ideas looking to find their freedom. This film captures the 60's spirit in a very natural way. It's a trippy blend of a document and fiction where it drifts in and out from the script. It feels genuine and true, some parts and dialogues surely were improvised on the go... A great commentary to what was going on in the USA, 1968...
Conceptually astute (& deceptively lucid) experimental meta vérité. Which sounds as pretentious as it is, and Varda knew it, and used it; in structure, as in content, this is a film where even 'whimsy' is contrived (and where audience, characters, actors, directors have all found it tiresome by the end). Rich and perceptive analysis of 60s USA (and of course of film itself) as embodiment of the problem of 'the real'.
An artifact at this point shot in Hollywood in '68 that captures the hedonistic ennui of the 'we're all superstars' generation. Personified here by Viva (of Warhol fame) and her two lovers along with filmmaker Shirley Clarke who somewhat stands in for Varda herself here. Quirky and fun at points but alas never really is able to get beneath the masks of these improvised personalities. Just a relic really.
It's a good companion film to Demy's Model Shop, in that they are both outsider's views of LA. Where Demy's film shows LA in a tragic light, Varda shows it as innocent and childlike, almost to fault (at times becoming as directionless as its characters). It's far from Varda's best film, but still worth watching as it is well made and features some really interesting ideas!
"What else is Hollywood but Babylon and sunshine?" Moments of poetry and Vardaesque beauty marred by stretching what footage she had to fit the notion of a feature. In summary: Varda went to Hollywood, became disenchanted, and did her best to make something of it.
Halen seyrediyorum. Biri kadın üç eleman, kafalarına göre takılıyor. 60'lı yılların ortasında ABD'de yaşamak ve genç olmak varmış, deyu düşündüm birden. Film, garip bir şekilde hoşuma gitti. Ona uçuk kaçık söylencenin içinde, paranın realitesinin tartışılması da ayrı bir güzellik olmuş. Hayaller ve gerçekler styla. Ayı kafayla seyredilmez ama...
Valid reflection on a society absorbed in triviality and self-importance. All the world's a stage. Politicians are the best actors, according to the lead actor. Robert Kennedy cannot escape from Hawaii paradise and Disneyland: a tragic hero. In the movies there is little to distinguish between pretense and pretending. This movie concludes with one lead character telling the audience "I'm in a movie and you are not."