Les Bicyclettes de Belsize

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Les Bicyclettes de Belsize; a short musical. London in the idealistic swinging sixties - boy rides bike; boy crashes into billboard of a girl; boy falls in love with billboard-girl; meanwhile billboard girl is lonely at the top & wants to show a man she's worthy of love; boy meets billboard girl by chance; she's taken away by photographers for fashions shoot; boy rides bike across London, finds her, they frolic in the park.

Aside from a very intriguing opening shot, which pans over the rooftops and upper windows of Hampstead, and the vaguely ominous overhead shots of the boy riding his bike through the streets, this short is... Baffling. It's definitely one of the stranger pieces of cinema that I've seen recently; like a bad attempt at the whimsical realism of early French New Wave, only Les Bicyclette manages to be both stuffy and vapid at the same time.

It's stuffy, in that it makes no attempt to question the roles of Boy & Girl; he expects to get her and she expects to be got - there is no tension, no emotional chase, and not even any passion - the characters don't engage with each other, but it doesn't seem like an intentional choice. That leads to the vapid air; their relationship, like their place within the 60s London they inhibit and their role in the film, is superficial - they have no depth, and instead act as visual markers for the swingin' London subculture aesthetic, who act out expected roles of boy/girl in love archetypes.

Most interesting is the aria that the Boy sings after he has crashed into the billboard that shows a picture of her face. Ultimately, he says he's fallen head over heels in love with you (billboard-girl), while placing flowers upon the area of the billboard that he damaged. Funnily enough, the area is a basket of flowers on a bike - and the flowers he puts on the painted flowers are, I believe, plastic.

After depositing the flowers, he continues singing and caressing the printed billboard girl-face; professing his love over and over -- then getting back upon his bike, he heads rides over to a Printers shop; there, he rips open packages, finds a portrait of the Girl, and sits in the shop window, staring lovingly at the image of the Girl. After a cut away to the Girl, where she sings a song about wanting to show a man she's worthy of love, the Girl walks out into the street and sits down in front of the window where the Boy was staring at her photograph. It's only after a few moments that the Boy realises the real-girl is outside; he then turns, and they try and kiss through the glass of the window.

I can't quite articulate why I find it so off putting, but the whole Boy falling in love with the Image of the Girl is just... Well, off putting.

Ultimately one loves one’s desires and not the object one desires, seems like a suitable explanation for the film -- only it's so wrapped up in it's own shallowness, that the film doesn't leave itself to questioning the intentions of its characters.

Although, perhaps this lack of depth is expressed, if not from within the actions of its characters, but instead within the title song of the short musical;

Turning and turning the world goes on
We can't change it, my friend
Let us go riding now through the days
Together to the end, till the end

Les bicyclettes de Belsize
Carry us side by side
And hand in hand, we will ride
Over Belsize
Turn you magical eyes
'Round and around
Looking at all we found
Carry us through the skies
Les bicyclettes de Belsize

Spinning and spinning the dreams I know
Rolling on through my head
Let us enjoy them before they go
Come the dawn they all are dead, yes, they're dead

Les bicyclettes de Belsize
Carry us side by side
And hand in hand, we will ride
Over Belsize
Turn you magical eyes
'Round and around
Looking at all we found
Carry us through the skies
Les bicyclettes de Belsize