In 1967, Skolimowski made Le Depart. Accompanied by a jazzy score by composer Komeda , known for working with Polanski, the style of Le Depart is like Deep End. The difference is that it's shot in black and white, and made in France. Which is the first country outside of Poland Skomilowski made a film.
Le Depart is about a boy who wants to drive rallies but has no money to rent or buy a car. While looking for ways to raise money, he meets a girl he likes and looks for the money with her. The boy's role is played by Jean Pierre-Leaud who was discovered by Truffaut with Les Quatre Cents Coupe.
Le Depart is a typical new wave film. Not much plot, experimental shooting and unconventional editing. Where Deep End became slightly predictable halfway the film, with Le Depart it's hard to guess what's going to happen next. Jean Pierre Leaud is the reason for this. He is unpredictable and convincing with his passion for cars, which is greater than the passion for his girlfriend. Like with Les Quatre Cent Coupes, Jean-Pierre Leaud seems to have been made for Le Depart.
As with Polanski, Skolimowski's best films were made during the beginning of his career. There's an energy in this film that lacks in Skomilowski's later films. Where Deep End shows similarities with the Czech New Wave, Le Depart stands closer to the French New Wave. His Polish films show more about his roots, but Le Depart and Deep End are the highlights in a filmmaker's career who should be as recognised as contemporary and friend Polanski.
****1/2 (out of 5)
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