Varda explained in an interview with. Nonton Cléo from 5 to 7 (1962). Even more interesting is the fact that the viewer gets an excellent view of life in Paris for a beautiful, wealthy woman in the 1960s, but the film is shown in first person. The viewer sees Cléo in a natural light as she goes through her day. Cléo no longer wants to be watched and studied, but she wants to be acknowledged as a real human. Cléo’s feelings about each moment in the film are shown, so the viewer is able to see how she grows over the span of two hours. In the present, Cléo is very worried about her future which could explain why the present is black and white. The natural beauty of Paris is seen in its entirety: taxis, shops, cafés, apartments, and streets. While life is going on in Paris, she is struggling to face the results of her biopsy (Hagopian). The hustle and bustle of the time is shown as it realistically would have been at the time. Agnès Varda's Cléo from 5 to 7 is a quintessential component to the reverence of the French New Wave movement, but its favor of stylistic technique and transitory allusions over expanded characterizations breeds disparity. She does not have many decorations, but the bed, rugs, and other directions she does have seem very expensive. The first person narrative allows us to see the world as Cléo does. Paris and the people in it are going on with their day without acknowledging her presence. The documentary style of the film allows the viewer to follow Cléo during real-time from 5 p.m. to 6:30 p.m on June 21, 1961. Cléo’s beauty is highlighted through editing and the theme of the gaze. But though her work as a … Both deaths are not guaranteed but bring fear to their current state. The lyrics become less general in this verse too, as the song shifts gears from the universal romanticism of a love ballad to existential lament about body horror and the terror of death. She wants to be perceived in a positive, beautiful light and alters her outward appearance to do so. Cléo from 5 to 7 is a 1962 French Left Bank film written and directed by Agnès Varda. Writer-director Agnès Varda is seldom mentioned among the first-rank French New Wave directors for any number of reasons: Her career both precedes and postdates the New Wave, she married the decidedly non-New Wave director Jacques Demy (The Umbrellas Of Cherbourg), and her films are overtly concerned with feminist issues usually neglected by other New Wavers. The costumes in the film are very traditional with Paris in the 1960s. He is on leave from the war and is openly concerned about death. Originally, Legrand was not considered for the role of Bob. Paris is shown as it would have been because it was filmed on location. Music is obviously important to Cléo as she is a famous pop-artist. When she changes into her robe at the house, she looks almost angelic. “There’s always something wrong with you” says Cleo’s lover. Antoine also allows she to be her true self, as they meet in a park where there are no mirrors to reflect on. She is wearing a wig and looks almost doll-like. The duality that defines Agnés Varda’s Cléo from 5 to 7 is present from, quite literally, its opening frames: a title sequence in which our protagonist goes for a tarot card reading, and the writer/director both lays out the themes that will consume her interest for the next 90 minutes, and sets a style of winking playfulness that would seem to run counter to the serious subject matter. Through Varda’s ability to show both Cléo’s emotions and the emotions and actions in Paris, the viewer is able to recognize that Paris will go on with or without Cléo. When Cléo walks the streets of Paris there is both diegetic and extra-diegetic sound. Sound is incredibly important in the film as Cléo is a pop artist and much of her work revolves around music. The setting is used to create space in the film for Cléo. 5 to 7 Soundtrack List (2014) Complete tracklist, all songs played in the movie and in the trailer, who sings them, soundtrack details and the entire music playlist of the album. After she storms out of her rehearsal, she changes into a slim black dress, removes her wig, and puts on sunglasses. The fear is also enhanced through her dim surroundings. She looks into the mirrors to reaffirm that she is indeed beautiful. This creates a very natural, real-life feel to the film. Cléo then roams the claustrophobic café and is met with a cacophony of chatter and the unfriendly stares of its patrons and her alienation is further reinforced by the indifference of the café-goers to her music. The city’s beauty is highlighted throughout the film. The title of the film from 5 to 7 is a pun on the normal interpretation of the phrase. A sombre Cléo descends the staircase from the fortune teller’s office and a sighing theme on strings and harp begins to emanate from the soundtrack. Her clothes force people to recognize her for her beauty and not much more. Agnès Varda’s 1961 classic Cléo from 5 to 7 is a beguiling mixture of cinematic polish and experimentation. Cléo from 5 to 7 is a 1962 French Left Bank film written and directed by Agnès Varda. Her thoughts sound different from her regular voice as well, almost as if she is whispering to herself. The remainder of the film – Cléo’s real-life – is shot in black and white. Many of the events described by the tarot reader, the viewer will find to be true later. The space created by the car is instantly removed as the viewer sees the distraught emotion on her face. The music is very French and highlights the French culture of the time. Every step she takes is precisely mapped out throughout the film, so Cléo is developed in a realistic setting. At first, the reader struggles to see the future for Cléo but successfully analyzes her past. The second feature of legendary director Agnes Varda, follows a singer known by her stage name Cléo as she spends two hours waiting for results of a medical exam. It is almost as if her illness has cast a darkness on the encounter. I have been guilty of that myself. The added, natural sounds shed further light on what life was like in Paris at the time because the viewer even gets to hear what was going on in the city. 28 talking about this. This is crucial to their relationship because this is the first relationship that Cléo seems to be her true self. This develops the film beyond the linear development of Cleo’s life because it shows that the time frame of the movie was a real day in history. Death is shown throughout the film and especially prominent in the park scene with the Algerian soldier, Antoine. Her thoughts allow the viewer to better understand Cléo as a character. Cléo’s relationship with her musical output is conflicted, indicative of her internal struggles regarding her sense of self-worth. This is not an official page. We learn that Cléo is a famous musician who became famous with the help of a young lover. Varda creates space with the camera, indicating that Cléo does have lots of time and space to do as she pleases. The white robe flows as she sits on the swing. Each second of the film is spelled out for the viewer to clearly follow the progression of the film. There is a lot of free space in the room. The lighting is very natural and the scene seems natural even after the film started in color. Clothing is also used to characterize Cléo. If you're interested in contributing to Notebook, please send us a sample of your work. After Cléo is no longer controlled by men watching her, she is able to be her true self. The black and white colors and dull contrast of the film highlights her age, wrinkles, and facial concern. However, with Antoine, the shot-reverse-shot framing disappears and gives way to both people framed in the shot. Another darker example of this, is in the taxi, Cléo looks out the window many times and sees African masks in store windows that represent death. The viewer also hears Cléo’s thoughts in many instances during the film, further the understanding of Cléo’s plans and thought-process. After the doctor gives her diagnosis and drives off, the camera seems to sit on the back of his car and pans away from Cléo and Antoine. Her lover does not see her often, but he looks after her and gives her advice for her career. We know that on screen there are no string instrumentalists present, so perhaps in this moment the mournful strings are a product of Cléo’s mind? Time is marked by the chapters, but life continues for Cléo at different paces. She is aware of the world rather than just accepting things how they are. Title Screen : Movie Title/Year and Scene Descriptions: Screenshots: Cleo From 5 to 7 (1962, Fr.) However, the cards are shedding light on her imaginary future and are shown in color. It is easy to feel Cléo’s emotions because of how close you become to Cléo. An angel represents heaven, and she has become an angel with her clothing. There are many mirrors at her apartment to allow her to look at herself. We are all the same.” These are her internal thoughts rationalizing the overwhelming experience. She recognizes that the world is looking at her in her music and in the street so she feels the need to fill the expectations set for her. The viewer can feel her fear. She is no longer restricted to her thoughts, but she can outwardly express her thoughts and feelings to Antoine. As they walk silently, four disparate, dissonant chords emerge from the soundtrack and lead into the closing credits, signifying to us that for Cléo, the future does not bode well. A piano or violin is often heard throughout the film. Legrand’s arrangement of “Cri d’amour” (and another musical cue) follows suit, its instrumentation shifting to mandolin, harps, strings and woodwinds, a more intimate, warm chamber interpretation of the song. In France, the afternoon hours from five to seven are known as the hours when lovers meet. Out of the taxi window, you can see the river, men catcalling her, store windows, and people. The masks are out of place for Paris and bring fear to Cléo. The camera focuses solely on the hands and cards of the reader, indicating how seriously Cléo takes card reading. Her clothes force people to recognize her for her beauty and not much more. Cléo is not just looking at herself but also how others perceive her. The movie is incredibly fluid and is broken up by twelve chapters that are represented on the screen with the chapter number, time, and characters. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina. Her journey through Paris can be mapped by location and acquaintances. This scene combines multiple editing techniques that first create space and then instantly remove it. Varda innovatively spells out her past and future in one scene. Have a look below to see the official soundtrack list for the 2014 romance movie, 5 to 7, including scene descript Similar to how Cléo had finally come to terms with her illness and then the doctor quickly found her to giver her the results of her test. However, halfway through the film – after the “Sans Toi” song – she breaks out of the constrictive environment and explores Paris and the parks. There are even moments where sound is added from her thoughts to create another level of understanding into Cléo’s inner psyche. Sebagai Cleo menyiapkan diri untuk bertemu dengan dokter pada pukul 7, dia bertemu dengan beberapa teman-teman dan orang asing ketika mencoba untuk bergulat dengan kematian. In the preceding scenes Cléo has attempted to find love and support regarding her grim prognosis first from her maid and then from an older lover. The day is marked by war in Algeria, farming, Symbolically, when Cléo leaves the sculptor’s room, a mirror falls and breaks. At the beginning of the film, Cléo feels very constricted by her tarot reading and biopsy test. The use of space emphasizes different elements in the film that Varda wants to focus on. Time also creates a sense of freedom throughout the film. Her clothes represent how she has developed throughout the film from self-concerned to aware of her surroundings. Movie: Cleo From 5 To 7 (Cleo De 5 A 7) (1962) info with movie soundtracks, credited songs, film score albums, reviews, news, and more. For example, while in the taxi, Cléo is looking out the window, and the viewer gets to see Paris through her eyes. As she sings about her body being ravaged by despair, a single tear rolling down her face, Cléo loses herself in the music and, since those around her on screen seem dismissive of her fears, turns to us, the viewer, in desperation for sympathy. Immediately after this, the camera cuts, Clothing is also used to characterize Cléo. This is especially evident when Cléo is in the café, and no one recognizes her music when she puts it on. She accepts that people follow her because of her beauty. She wears a large dress, a wig, and makeup. She even convinces herself after visiting the fortune teller that, despite her illness, if “[she is] beautiful [she is] more alive than others.” This apparent superficiality is reflected in the “disposable” yé-yé pop music she is heard singing, saccharine love songs with lush orchestration and wry titles such as “La joeuse” (“The Player”). On the streets, she is an object for men to watch, and she greatly enjoys this. The camera shows this by being in the top corner of the room and focusing on everything in the room. In the park scene at the hospital, Cléo seems to finally find peace with herself. She says, “We have plenty of time,” while the camera jump cuts away from their faces to the large garden. The viewer follows Cléo for the entire movie in real time and begins to relate to her and understand her thoughts and actions. Her journey through Paris can be mapped by location and acquaintances. She also begins to recognize the issues associated with people always looking at her. The most interesting aspect of this moment is the color. When Cléo walks the streets of Paris there is both diegetic and extra-diegetic sound. Nothing could be more unfair. The first scene is done in sepia, indicating time and age of the tarot reader’s business. 1. Bob and his songwriting partner Maurice (Serge Korber) arrive at Cléo’s apartment and are informed be Cléo’s maid, Angèle (Dominique Davray) that Cléo is feeling poorly. Cléo and Antoine understand each other’s situations and she sees his vision of the world as positive and together in their own bubble. The music adds to the mood of the scene. The shot further establishes the theme of the gaze on Cléo as someone is always looking at her. Criterion is proud to present Cleo from 5 to 7 in a beautiful digital transfer supervised by the director, with the color opening sequence restored. And its Legrand’s music that also has the last word as to Cléo’s fate. They are able to support each other for a little bit as they can both relate to each other. The viewer hears what she hears, sees surroundings as Cléo does, and is able to feel as Cléo does through Varda’s editing techniques. She no longer feels so alone, but she has someone who actually cares about her and wants her to be happy. 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