Crítica ácida à noção de sociedade do espetáculo, mostrando de forma análoga e "exagerada" todo o teor grotesco das ideologias e modelos impostos pela mídia e pelo pensamento capitalista utilitarista. A fotografia do filme é fantástica e muito contribui para tal análise crítica e pessimista dos pilares que constituem a indústria da beleza.
I started out loving the film but by the end it was just too self indulgent for its own good. Klein films always seem to be bloated messes but, while watching, they are entertaining at least, moreso bc one has no clue whats coming next. Some striking moments here, but overall falls flat. Recommended for New Wave fans that want something new. Just be warned there is a reason its not well known. 3 stars for originality
"The majority is an anarchic blast but it tends to lose its way... making a good portion of this a scattershot byproduct of [Klein's] central ideas. ... It’s got lots of French New Wavy flash but is on the whole more collectively experimental. You don’t really know what you’ll see next; it doesn’t have any forward motion and that’s part of the fun and part of the problem."-Catherine, Cinema Enthusiast.
Avec cette satire sociale du milieu de la mode et de la télévision, menée sur un rythme endiablé, W. Klein réussit un superbe film, là où- sur des intentions proches - un Godard se vautrait lamentablement dans "2 ou 3 choses que je sais d'elle" (oui, je sais, je m'en remets pas! lol). Dans Polly Maggoo, l'auto-dérision est de mise, et celui qui regarde (et critique) est au final autant décortiqué que l'objet regardé.
Wonderful experimental nouvelle vague comedy. Inventive, good fun - as mocking the fashion industry always is - and pleasing to the eye in more ways than one. Very much a product of its time but still feels fresh thanks to the versatility of its cinematic means of expression. For any aspiring movie maker this should be a must.
A quite ingenious film from director William Klein that provides a look at our fascination with celebrity culture. Hard to believe this was made thirty years before so called 'reality TV' with its only pre-existing examples being celebrity rags and perhaps Beatlemania. Gorgeous art direction and costumes too boot. Features early turns by Jean Rochefort and Philippe Noirot.
How to put this – it's all too much. I mean, the satire is brilliant and profound; the nonsensical humor hasn't aged a bit; the crazy editing, unpredictable and fun; and it's full of great ideas, from the first scene to the credits. It had all you need to make a masterpiece, but somehow, most of the time it's all just a mess. It only lacked control, and maybe, experience – but that's what makes the difference.
Klein's biggest joke, and most effective slight, is the utter seriousness with which he constructs so much silliness. All the commodifiable talent of a (today) $70,000+ a shoot Vogue photographer, diverted into creating a gleefully demystified (per)version of the very high-gloss nonsense they paid him to exalt. Gorgeous, wacky, stylish, smart, grotesque & hilarious. Brilliant opening, rivalled only by the final song.
A structural strangulation for 40 minutes; Polly is the totem of certainty, a dream catcher, a model as fashion survivor in a bear-pit of journalism. Along comes a prince and an absurdist sense of humour rescues the film with enlightened creativity. Madcap, fun, Pythonesque, if one can endure the intial deconstructions. The end credits are novel; a rolling medieval tapestry of graphic illustration.
Whether the director knows how ironic it is to is ot take a new wave [...] deconstructivist approach to criticising another deconstructivist approach, here the 60's fashion, is unclear. Yet it works as well as a good Godard in discussing the form as part of the contents and in being a thought starter. Much more incisive than the model couple.