Agnés Varda’s 1962 film Cléo 5 to 7 focuses on a beautiful, young singer during the two hours she’s waiting to hear whether she has cancer or not. She’s had her tests and the doctor said to call him at 7. How do you occupy yourself right before you’re going to get such a diagnosis?
Cléo first goes to a fortune teller. She gets her cards read, but the fortune teller gets upset when asked to read Cléo’s palm. Things do not look good. From there Cléo and her maid go shopping and we see how much more grounded and practical her maid is. Sure anyone would be on edge and jumpy at this time, but we figure, given her purchase of a winter fur hat, bought purely to annoy her maid, that Cléo is capricious.
The film made me sympathetic to Cléo. She’s a rising star, but she’s surrounded by men who have little time or respect for her. It’s not till she’s in a park right before 7 when she meets a fellow that she might be able to trust. Her maid and friend are reliable and trustworthy, but really, when you’re about to learn if you have terminal cancer, you are pretty alone.
There’s a lot of attention given to the strangers Cléo passes who’re living as if they have forever (though one stranger certainly does not). These little snippets of action and conversation spice and show what life really is like and how we aren’t the center of anyone’s drama.
The lead Corrine Marchard does a fine job as Cléo bringing her to life in a way that we see her as more than a dizzy singer with a bit of bad luck. Yes, she’s got privilege and doesn’t understand fully how much, but we still want to learn more and understand Cléo better.
The camera work in the film is inspired and masterful, creating a look that remains fresh today.
Ahh, the house was abuzz as everyone quickly prepared for Edith’s wedding to the older Sir Anthony. What are my thoughts? Well, there will be spoilers below, so don’t say you weren’t warned. Here’s my 2 cents on an episode that kept me rivetted:
- I’m wondering if Mrs. Hughes really is well or if she just hated all the fuss and told Mrs. Patmore she was.
- Why didn’t Mrs. Levinson stay for Edith’s wedding? Was there some previous engagement? Isn’t she aware of Edith’s feelings of inferiority to Mary and therefore sensitive to the fairness of staying on? If she doesn’t like Downton, she could have gone to London or the Lake District to take in the sights and then returned to see Edith wed.
- I did think Shirley MacLaine was poorly used last week. She sparred nicely with Violet, but that could have been better and she was one dimensional as the Yank who believes in change. She had few scenes with her daughter, which was weird. I wanted to know how Cora could be so different from her mother Martha. They seemed like acquaintances, not relatives, let alone mother and daughter. Very odd.
- I’d glad the money issue will work out. I wasn’t ready to give up Downton and I’m like Mary in that I see the Countess of Grantham as living in Downton Abbey.
- I hope someone divests Daisy of her fascination with fast women. It’s not her character and so she’s on thin ice. Trouble looms, my dear, when you stray from your true self.
- There was a fair amount with the prison and Bates. It’s not looking good, but at least he was tipped off about the knife his cellmate planted.
- What will O’Brien do to Thomas? He best be careful as she’s shrewd.
- Edith will need to find something to do, something noble. Stop all this spinster talk. Mary was older when she married.
- Sir Anthony, how could you? it’s one thing for a hobbledehoy to jilt a bride at the altar with all her family and friends watching, with thousands spent for delicacies and libation, and quite another for a grown man. You’re no school boy and we all expect more character from a gentleman!
- Violet’s Best Line: “Vulgarity’s no substitute for wit.”
- Kudos to the Golden Globe voters for choosing Maggie Smith.