I don't want to fall into that trap. You know the one where because we are seeing a film, or listening to music 40 years after it was made it doesn't seem to be all that shocking. As a teenager I walked out on Godard's "Breathless", the very first time I went to a midnight movie. Of course, I am horrified at that juvenile snafu, but I didn't know any better. I had to be taught to understand French Cinema in all of it's oddities. Yet, I have been watching "Who are you Polly Magoo?" for over a week now: rewinding, fast forwarding and I still don't have a clue what to say about it. Cinematography wise it's a gas. Fab angles, odd shots of crowds and high places in Paris, the fashion world has never looked more extra terrestrial. But these stylized images are so part of our almost mainstream now it's hard to be as shocked as we might have been had we sat in the audience on opening night of William Klein's 1966 film. Criticizing the Parisian fashion world at the birth of its youth market is an easy hit. Models always look silly when we see them from behind the camera, vamping and sashaying to and fro. Magazines and still photography seem to create a peace that separates the action from the outcome and allows the observer to fetishize, belittle or worship as we please.
William Klein was a fantastic photographer before he shot this film, with heavy credits in the fashion industry. He knew firsthand the insanity of the magazine hierarchy and its' willing subjects. Because this film was made as the French New Wave was winding down, that influence feels hearty and obvious. After all, Klein was an American, at the height of anti-American feelings in France. One couldn't just waltz in and not make a big nod without trench coats flapping or ballet flats mussed up. Klein interjects humor and absurdity that frees his influences from their New Wave forefathers and offers up an early Woody Allen quality that suggests we are all in on the joke, we just don't know where we heard it first.
My only complaint about "Qui Etes-Vous Polly Magoo?" is that the story we are being sold, about how vapid the fashion industry is, especially its models, is such a duplicitous tale. While we mock them, we also worship, and look to them for strength of good style character. The women in his film are seen as robots to visual reward, yet the male viewers enjoy those efforts. It's hard to be sympathetic to the poor male lead who frets about Polly's vacuousness while he day dreams about her fashioned false front. As seen through the eyes of a male film maker this recurring tale will always be resolved with 'man in foreground, woman behind'.
Nevertheless, still a great film. Also, be sure to check out the other two Klein DVDs: Model Couple and Mr. Freedom. Great stuff.
Posted by: Texas Prairie Chicken | March 31, 2009 at 10:22 AM
Speaking of walking out on Godard, I walked out on Hail Mary at the Bleecker Street Cinema when I was about 20. I stand by this decision. Everything he did after Weekend is merdre!
Posted by: WmMBerger | March 31, 2009 at 11:50 AM
Well put. Every frame of Polly Maggoo is visually arresting but I was never pulled into the story like I was by Mr. Freedom (which, although I love, also suffers from Klein's pacing problem - petering out about 3/4 of the way through). Haven't got to the Model Couple yet but I expect more of the same. At least they're easy on the eyes. I will say that the first seventy minutes of Klein's Ali documentary are absolutely breathtaking - I cannot recommend it highly enough. An essential look at not only the boxer but the state of black/white relations in America during the early 60's.
Posted by: Sean Murphy | March 31, 2009 at 12:14 PM
Also love Grayson Hall as fashion editor Miss Maxwell in this kooky film...but Hall could sell me on any performance after her role as the screeching tour bus guide, Judith Fellowes, in "Night of the Iguana."
Posted by: Mark Allen | March 31, 2009 at 02:23 PM
I have wanted to see this since I learned that the writer Violette Leduc had a bit part in it. At the time of this film she was an older woman. She had an enormous nose.
Posted by: cb3 | March 31, 2009 at 05:10 PM
Yeah, there should be a big magnifying glass on the whole Grayson Hall saga...if Film Forum or whomever haven't done a retrospective.
Posted by: BrianTurner | April 01, 2009 at 10:49 AM