Strange beguiling and ultimately deeply frustrating. I must say the colours and light are eloquent and lovely but I found most of the characters over-indulgent and insufferable. I felt like a curmudgeon wanting to yell “Get a job!”. Though poetic it seems less craft and more laziness (the characters not the filmmaking). I think I hoped for a more probing look from this strange hedonistic cultural snapshot.
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.
2,5/5 J'ai du mal à apprécier ce film. Son intérêt réside surtout dans sa dimension de document-témoignage d'une époque, d'une communauté, d'un regard sur le monde du cinéma américain (et même pas un panda fumant un joint!) Ce film donne l'impression qu'il aurait pu aborder plein d'autres sujets, cela aurait été pareil... C'est la vie, allez-vous me dire... et c'est pour ça que son intérêt est médiocre sans doute...
Varda seems to be trying to make an improvisational meta-Warhol experiment or perhaps a hippie homage to Hollywood (who knows?), but the result, despite mildly pleasant, is in fact a bit pretentious and the main trio become pretty annoying and dull after a while. http://www.filmotrope.com
Varda's first American feature-length film sees her bring her unique outlook to the counter culture in California. The decision to include fragments from Robert Kennedy's assassination results in a certain poignancy and a heightened sense of awareness of the importance of living. Ultimately, this film is yet another reason to treasure Agnes Varda and her uniquely personal cinema. N.B. was that Bogdanovich at the end?
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.
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...
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'.
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."