Who Are You, Polly Magoo?

Who Are You, Polly Magoo? is a 1966 French film that is a satirical take on the fashion industry. Directed by fashion photographer William Klein, the film presents a stylized and whimsical yet poignant look at the world of haute couture, media, and the nature of celebrity. It stars Dorothy McGowan as the titular Polly Magoo, Jean Rochefort, and Sami Frey.

The film opens with an over-the-top fashion show that sets the tone for what follows: a surreal journey through the glamour and superficiality of the modeling world. Polly Magoo is an American model living in Paris, who has become the latest sensation. Her image is everywhere, gracing the covers of prominent fashion magazines, and she is sought after by designers, photographers, and the high society elite.

In the midst of her newfound fame, Polly Magoo finds herself as the subject of a television documentary. The producer of the documentary, played by Jean Rochefort, is attempting to delve into her personal life to reveal the woman behind the public facade. The film captures the odd dichotomy of Polly's life: although she sits at the pinnacle of the fashion world, she surprisingly maintains a level of innocence and naiveté about the industry and her place within it.

Sami Frey enters the scene as a prince who becomes smitten with Polly Magoo's beauty. The prince's fascination with her leads to a subplot about love and desire in the high-stakes world of fashion, where personal connections are often fleeting and instrumental.

As the narrative unfolds, Who Are You, Polly Magoo? serves as a commentary on the vacuity of the fashion scene, as well as a critique of the way society idolizes and disposes of its celebrities. The film uncovers the absurdities of the industry—from the designers and their avant-garde creations that seem disconnected from reality to the serious tone the media adopts while covering what are essentially frivolous events. The bizarre and exaggerated costumes in the fashion show scenes exemplify the film's satirical edge, where one model is even clad in aluminum foil, presenting a critique of fashion as a disposable commodity.

Dorothy McGowan's performance as Polly Magoo is intriguing. Polly is often shown as a passive figure within the chaos that surrounds her, seemingly floating through her surreal existence, at times, mere set decoration for the vivid tableau of fashion. McGowan brings a sense of genuine bewilderment and charm to the role, allowing the audience to feel a connection with Polly despite the odd world she navigates.

The cinematography of Who Are You, Polly Magoo? is as bold and striking as its subject matter. William Klein's background as a fashion photographer is evident in the visual composition of the film. He creates scenes with a sharp contrast of black and white, and with unconventional camera angles and movements that give the film an artistic, often otherworldly, quality. The exaggerated sets and costumes complement the satirical tone and contribute to the visual feast that is both critical and celebratory of the fashion world's eccentricities.

With Klein's satirical direction, the film challenges the viewer to reflect on the nature of beauty and the ways it is constructed and consumed in modern society. The documentary filmmaker within the narrative acts as the voice of the audience, asking questions about authenticity and the meaning behind all the glitz and glamor. The movie borders on the surreal, yet it reflects genuine concerns about personal identity and the disconnection between public image and private selves.

Who Are You, Polly Magoo? uses its humor and exaggeration to speak on the impact of media and the commodification of humans, particularly women, in the spectacle of fashion. It is prescient in the way it anticipates future concerns about media saturation and the fetishization of fame.

Overall, Who Are You, Polly Magoo? is a cult classic that resonates with audiences due to its ahead-of-its-time critique of the fashion industry and celebrity culture. Its blend of fantasy and grounded criticism, along with memorable performances from its cast, particularly newcomer Dorothy McGowan, makes it a unique cinematic experience. The movie also offers a sort of time capsule perspective, providing insights into the mindset and aesthetics of the vibrant and tumultuous 1960s. It remains a seminal work for those interested in fashion, media studies, and the interplay between appearance and reality.