.tnyfrontrow reviews “Adieu Phillippine,” a film featured in a series about the French New Wave at MuseumModernArt, which “belongs to its historical moment but also reflects it from the outside like a magnifying mirror.”
The big movie news in New York is the start of the monthlong series “Forgotten Filmmakers of the French New Wave,” at. But, if these films are so good, one might ask: Why are they forgotten? Forgotten by whom? And what is the French New Wave, anyway? It turns out that the second-night feature, Jacques Rozier’s “Adieu Philippine,” which is the greatest of the films that I’ve seen in the series, stands at the crossroads of all these questions.
The story of “Adieu Philippine,” which stretches through about two months’ time, can be summarized in a few lines: It’s something of a shaggy-dog film, even though its dramatic arc is tautly logical and its widely varied tone is keenly controlled. The protagonist, Michel Lambert , is a young Parisian man of about twenty, who works as an assistant at France’s national television studio.
The movie’s most thrilling, most original sequence is also a chilling one: the women are filmed in a jaunty stroll through Parisian crowds, set to a bouncy yet wistful instrumental score, during which they cross streets, glance at real stores, pass through real crowds, tease each other about Michel’s affections, and get harassed and accosted by real-life men—all in long, gliding shots that appear to be done from the window of a car following them with a hidden camera.
The movie opens with a title card announcing that the movie is set in “1960, the sixth year of the Algerian War”; the film was supposed to be completed by April 15, 1961, and would have been released soon thereafter, in the same little time bubble as the events onscreen. Instead, the completion was delayed, first for technical reasons and then by conflicts over the edit, which led to the film switching producers and losing its distributor.
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