Cleo From 5 to 7


1h 30m 1962
Cleo From 5 to 7

Brief Synopsis

This film concentrates on two hours in the life of a French singer waiting on the results of a cancer test.

Film Details

Also Known As
Cléo de 5 à 7
Genre
Comedy
Drama
Foreign
Music
Release Date
Jan 1962
Premiere Information
New York opening: 4 Sep 1962
Production Company
Rome-Paris Films
Distribution Company
Zenith International Film Corp.
Country
France

Technical Specs

Duration
1h 30m
Sound
Mono
Color
Black and White, Color
Theatrical Aspect Ratio
1.66 : 1

Synopsis

One afternoon in Paris, Cléo, a beautiful chanteuse, awaits the results of tests to determine whether or not she has cancer. In the interval, she visits a fortune-teller and is horrified when the tarot cards confirm her fears. She seeks consolation with Angèle, her companion and manager, in a cafe. They visit a shop where Cléo views herself in a mirror, obtaining reassurance that she is still young and beautiful, and buys a hat. Returning to her Montparnasse home, Cléo is visited by her lover, a busy man who can offer her only a moment of polite concern. Her songwriter and pianist arrive to rehearse a new number, but the song suddenly recalls her fears and she leaves, unable to tolerate the banter of the musicians. At a cafe she plays one of her own recordings, but no one listens. She visits her friend Dorothée, an artist's model, and together they deliver some film to Dorothée's lover, a motion picture projectionist. He projects a short comedy film for them, and Cléo momentarily forgets her anxiety. Dorothée breaks her mirror as they leave, and again Cléo becomes upset and wanders about the city. As 7 o'clock approaches, she strolls through the Parc Montsouris and meets Antoine, a young and good-natured soldier enjoying his last few hours of leave before returning to Algeria. She tells him of her situation, and he promises to accompany her to the doctor's office. Cléo is now able to face the verdict with courage.

Film Details

Also Known As
Cléo de 5 à 7
Genre
Comedy
Drama
Foreign
Music
Release Date
Jan 1962
Premiere Information
New York opening: 4 Sep 1962
Production Company
Rome-Paris Films
Distribution Company
Zenith International Film Corp.
Country
France

Technical Specs

Duration
1h 30m
Sound
Mono
Color
Black and White, Color
Theatrical Aspect Ratio
1.66 : 1

Articles

Cleo from 5 to 7 -


Movies that take place in "real time" (the action of the story happening entirely within the total running time of the film) have most often been geared to suspense. Alfred Hitchcock's Rope (1948) simulated a lengthy single take to bring tension to the discovery of a murder. High Noon (1952) used the ticking minutes to heighten suspense leading up to a climactic gunfight. Although not technically thrillers, both the noir boxing film The Set-Up (1949) and the stagey jury-room drama 12 Angry Men (1957) employed the device to bring an anxious sense of reality to their stories of people under pressure. It took an artist from France's rule-breaking New Wave-a movement associated with such time-fracturing editing techniques as the jump cut and the freeze frame-to put the conceit to new use in a gentle story of a woman meandering around Paris while she waits for the results of a medical test that will determine if she has cancer.

Certainly, the basic plot noted above would be enough to introduce high tension and suspense into its unfolding. After all, isn't expecting news of your possible demise something of a nail-biter? (One imagines a contemporary Hollywood take on it: Rooney Mara frantically scours the city for the one man who can cure her, say Morgan Freeman, all the while being shadowed by a mysterious man in a trench coat, played by a leering Kiefer Sutherland.) What director Agnès Varda does instead is weave a drama about a superficial woman whose journey through the city's streets and interiors, encountering friends, lovers, and strangers, leads her from a constricted, distressing present toward a sense of openness and the eternal that has the capacity to free her.

Shot in early summer 1961 and released the following April (the U.S. that September), Varda's film dazzled audiences who had already been introduced to the fresh, innovative style coming out of France in this period. With its cinema verité look put to the service of what might once have been considered a "woman's" melodrama, this was a new type of fiction, one that, as critic Molly Haskell has noted, took as its subject female identity and how women see themselves and are seen by the world. Varda's film was at once unique and new yet at the same time well within the mold of the New Wave. As film writer Adrian Martin has remarked in her notes for the Criterion Collection release of the film on DVD, Cléo from 5 to 7 embodied "the prime obsession of all the young cinema movements of the sixties: to evoke the eternal present, flashing by in a sustained intensity."

The movie has been described as Varda's successful crashing of the New Wave boys' club exemplified by Godard and Truffaut. In fact, her debut picture, La Pointe Courte (1955), is often considered the first film of the movement, although it was not known on an international scale the way Les quatre cents coups/The 400 Blows (1959) and À bout de soufflé/Breathless (1960) would be when they were hailed as the harbingers of a new age. Varda has always had a somewhat tenuous connection with the New Wave. Unlike Godard, Truffaut, Chabrol and others in their circle, she did not come from a film criticism background with their stints for the influential journal Cahiers du Cinema. Her earliest artistic roots were actually in painting, sculpture, and most significantly photojournalism.

Despite typically being identified with the New Wave, she is more often (and more correctly) seen as belonging to the closely connected but separate Rive Gauche (Left Bank) filmmakers, a collaborative band that included Alain Resnais (Hiroshima mon amour, 1959), Chris Marker (La jetée, 1962), and the nouvelle roman writers Marguerite Duras and Alain Robbe-Grillet, both of whom wrote screenplays for Resnais and other directors and went on to direct films themselves. This group was less fascinated by old Hollywood genres and more connected to other arts, particularly literature. They were also, at least at first, more overtly political in their leftist views. Nevertheless, with its use of handheld camera, unconventional framing and editing, and most particularly the exhilaration of its Paris setting, Cléo from 5 to 7 does evoke Godard's Breathless, and Varda's examination of the face, form and circumstances of her central character may remind some viewers of his Vivre sa vie (1962), although that film was actually released months after Varda's. Compounding the tendency to make comparisons and lump her in with her more famous colleagues, Varda actually inserts into this picture a short film she made earlier, Les fiancés du pont Mac Donald ou Méfiez-vous des lunettes noires (1961), which features Godard and his then wife and muse Anna Karina. The film also features other French cinema luminaries: Jean-Claude Brialy, Eddie Constantine, and the film's composer Michel Legrand, who plays the songwriter who writes Cléo's hit songs.

Some feminist critics in the years since the film's release have cast a suspicious eye on its feminist credentials, deeming it unworthy because while it is about a woman, it isn't overtly political in examining the condition of women in general. They also find its last segment to be retrograde, when Cléo at last seems to find some peace, fulfillment and completion after meeting and apparently falling for a gentle soldier about to be deployed to the war in Algeria. This part of the film, however, has also been cause for critical celebration, both for the way it brings together two souls living with the specter of death and its oblique commentary on France's infamous colonial war (alluded to earlier in the picture). The scene of the two on a streetcar has also been compared to the idyllic moments between husband and wife in Murnau's silent masterpiece Sunrise (1927).

For all that the film follows an evening in Cléo's life from moment to moment, dividing each "chapter" of the story by subtitles that detail the minutes covered and the characters she encounters, the title is actually misleading. Cléo's story ends after only about an hour and a half. That has brought up many interpretations. In any case, it does leave the viewer with a sense that the story is not over or resolved and wondering what happens in those final 30 minutes.

Cléo from 5 to 7 came in at number 202 in Sight and Sound's 2012 poll of critics' choices for the top 250 films of all time.

Director: Agnès Varda
Producers: Georges de Beauregard, Carlo Ponti
Screenplay: Agnès Varda
Cinematography: Paul Bonis, Alain Levent, Jean Rabier
Editing: Pascale Laverrière, Janine Verneau
Production Design: Jean-François Adam
Original Music: Michel Legrand
Cast: Corinne Marchand (Cléo/Florence), Antoine Bourseiller (Antoine), Dominique Davray (Angéle), Dorothée Blanck (Dorothée), Michel Legrand (Bob)

By Rob Nixon
Cleo From 5 To 7 -

Cleo from 5 to 7 -

Movies that take place in "real time" (the action of the story happening entirely within the total running time of the film) have most often been geared to suspense. Alfred Hitchcock's Rope (1948) simulated a lengthy single take to bring tension to the discovery of a murder. High Noon (1952) used the ticking minutes to heighten suspense leading up to a climactic gunfight. Although not technically thrillers, both the noir boxing film The Set-Up (1949) and the stagey jury-room drama 12 Angry Men (1957) employed the device to bring an anxious sense of reality to their stories of people under pressure. It took an artist from France's rule-breaking New Wave-a movement associated with such time-fracturing editing techniques as the jump cut and the freeze frame-to put the conceit to new use in a gentle story of a woman meandering around Paris while she waits for the results of a medical test that will determine if she has cancer. Certainly, the basic plot noted above would be enough to introduce high tension and suspense into its unfolding. After all, isn't expecting news of your possible demise something of a nail-biter? (One imagines a contemporary Hollywood take on it: Rooney Mara frantically scours the city for the one man who can cure her, say Morgan Freeman, all the while being shadowed by a mysterious man in a trench coat, played by a leering Kiefer Sutherland.) What director Agnès Varda does instead is weave a drama about a superficial woman whose journey through the city's streets and interiors, encountering friends, lovers, and strangers, leads her from a constricted, distressing present toward a sense of openness and the eternal that has the capacity to free her. Shot in early summer 1961 and released the following April (the U.S. that September), Varda's film dazzled audiences who had already been introduced to the fresh, innovative style coming out of France in this period. With its cinema verité look put to the service of what might once have been considered a "woman's" melodrama, this was a new type of fiction, one that, as critic Molly Haskell has noted, took as its subject female identity and how women see themselves and are seen by the world. Varda's film was at once unique and new yet at the same time well within the mold of the New Wave. As film writer Adrian Martin has remarked in her notes for the Criterion Collection release of the film on DVD, Cléo from 5 to 7 embodied "the prime obsession of all the young cinema movements of the sixties: to evoke the eternal present, flashing by in a sustained intensity." The movie has been described as Varda's successful crashing of the New Wave boys' club exemplified by Godard and Truffaut. In fact, her debut picture, La Pointe Courte (1955), is often considered the first film of the movement, although it was not known on an international scale the way Les quatre cents coups/The 400 Blows (1959) and À bout de soufflé/Breathless (1960) would be when they were hailed as the harbingers of a new age. Varda has always had a somewhat tenuous connection with the New Wave. Unlike Godard, Truffaut, Chabrol and others in their circle, she did not come from a film criticism background with their stints for the influential journal Cahiers du Cinema. Her earliest artistic roots were actually in painting, sculpture, and most significantly photojournalism. Despite typically being identified with the New Wave, she is more often (and more correctly) seen as belonging to the closely connected but separate Rive Gauche (Left Bank) filmmakers, a collaborative band that included Alain Resnais (Hiroshima mon amour, 1959), Chris Marker (La jetée, 1962), and the nouvelle roman writers Marguerite Duras and Alain Robbe-Grillet, both of whom wrote screenplays for Resnais and other directors and went on to direct films themselves. This group was less fascinated by old Hollywood genres and more connected to other arts, particularly literature. They were also, at least at first, more overtly political in their leftist views. Nevertheless, with its use of handheld camera, unconventional framing and editing, and most particularly the exhilaration of its Paris setting, Cléo from 5 to 7 does evoke Godard's Breathless, and Varda's examination of the face, form and circumstances of her central character may remind some viewers of his Vivre sa vie (1962), although that film was actually released months after Varda's. Compounding the tendency to make comparisons and lump her in with her more famous colleagues, Varda actually inserts into this picture a short film she made earlier, Les fiancés du pont Mac Donald ou Méfiez-vous des lunettes noires (1961), which features Godard and his then wife and muse Anna Karina. The film also features other French cinema luminaries: Jean-Claude Brialy, Eddie Constantine, and the film's composer Michel Legrand, who plays the songwriter who writes Cléo's hit songs. Some feminist critics in the years since the film's release have cast a suspicious eye on its feminist credentials, deeming it unworthy because while it is about a woman, it isn't overtly political in examining the condition of women in general. They also find its last segment to be retrograde, when Cléo at last seems to find some peace, fulfillment and completion after meeting and apparently falling for a gentle soldier about to be deployed to the war in Algeria. This part of the film, however, has also been cause for critical celebration, both for the way it brings together two souls living with the specter of death and its oblique commentary on France's infamous colonial war (alluded to earlier in the picture). The scene of the two on a streetcar has also been compared to the idyllic moments between husband and wife in Murnau's silent masterpiece Sunrise (1927). For all that the film follows an evening in Cléo's life from moment to moment, dividing each "chapter" of the story by subtitles that detail the minutes covered and the characters she encounters, the title is actually misleading. Cléo's story ends after only about an hour and a half. That has brought up many interpretations. In any case, it does leave the viewer with a sense that the story is not over or resolved and wondering what happens in those final 30 minutes. Cléo from 5 to 7 came in at number 202 in Sight and Sound's 2012 poll of critics' choices for the top 250 films of all time. Director: Agnès Varda Producers: Georges de Beauregard, Carlo Ponti Screenplay: Agnès Varda Cinematography: Paul Bonis, Alain Levent, Jean Rabier Editing: Pascale Laverrière, Janine Verneau Production Design: Jean-François Adam Original Music: Michel Legrand Cast: Corinne Marchand (Cléo/Florence), Antoine Bourseiller (Antoine), Dominique Davray (Angéle), Dorothée Blanck (Dorothée), Michel Legrand (Bob) By Rob Nixon

Quotes

Nakedness is simplicity itself, like the sun, the water...
- Antoine

Trivia

Notes

Paris opening: April 1962 as Cléo de 5 à 7.

Miscellaneous Notes

Released in United States Summer September 4, 1962

Released in United States Summer September 4, 1962

Released in United States 2013

Released in United States 2013 (Guest Artistic Director)