Emmanuel Laurent’s new documentary, Two in the Wave, about Godard, Truffaut, and everyone’s favorite Vague, opens this week. A.O. Scott wrote something characteristically bland here.
Forgive me, but I have to sin. When Godard and Truffaut behave as themselves, their films tend to slip into excess; Godard goes into solipsistic maximalism, and Truffaut into a kind of flabby melancholy. I know I’m supposed to be wild about Pierrot le fou but it’s just so damn polemical I can’t bring myself to give it the second and third chances everyone tells me I should (at least Brecht, when he got too Brechtian, had Kurt Weill to diffuse the air of importance). Same with all of those later Truffaut love stories. Put on one of the Antoine Doinel movies (after The 400 Blows), and I’ll start to wish I were watching Woody Allen, or if he fulfills his promise, Noah Baumbach.
My blasphemy ends there. While it’s true I never loved Truffaut and never loved Godard, I love Godard when he acts like Truffaut and Truffaut when he acts like Godard. You could see a touch of each of them in Day for Night and Contempt, films as formally rigorous as they are romantic. Personally, I can’t get enough of either.
And while we’re on the subject of The New Wave, I can’t resist shouting out to my two favorite Vague-ers, both of whom, film for film, are more consistent, and I think cleverer, than either Truffaut or Godard. They are, perhaps unsurprisingly, Agnes Varda and Claude Chabrol.
I haven’t been shy about my longstanding love affair with Claude Chabrol (I gushed here), but I haven’t yet had a platform to practice my fondness for Varda, the filmmaker they call “The Godmother of The French New Wave.”
It comes down to this: in films like Vagabond (her masterpiece) and The Beaches of Agnes, Varda shows herself to be someone who plays with cinema the way Frank Gehry plays with buildings. Godard plays too, but to extend the architectural analogy, he’s more like Frank Lloyd Wright – he doesn’t play well with others. But Agnes does. She takes you by the hand and leads you through the maze. Even when she leads too forcefully, you never regret being in her company, and even when she’s mischievous, you never leave exhausted. The freedoms Truffaut and Godard proposed – freedoms that often shackled them – Varda continues to renew.