A film about nothing

“Nothing to be done.”

The opening words, sighed by the listless loiterer Vladimir, illustrate the tone of Samuel Beckett’s absurdist play, Waiting for Godot. Described by the playwright as a tragicomedy, Godot is, almost literally, a play about nothing.

The Northwest Film Center will screen a 1961 film adaptation of Godot by Alan Schneider Jan. 19–20 as part of its ongoing “Treasures from the UCLA Film and Television Archive” series.

The real action and impact of Godot is in the dialogue, which moves from insightful to ridiculous, from silly to sullen. But it’s always swift and snappy, with characters retorting one another in a constant duel of wits.

Considered to be one of the most important plays of the 20th century, Godot is the dreary story of Vladimir and Estragon, as they wait for the arrival of the mysterious Godot. Throughout the play, the two characters explore their own murky relationship, engage in banter that is whimsical and thought-provoking, and encounter a pair of travelers passing by on their own business. They consider several courses of action but take none, remaining trapped in place by their awaited appointment as they pass the time.

Vladimir, played by Burgess Meredith, is the thinker of the pair, directing and nurturing his companion, Estragon (Zero Mostel), as they wait. Estragon, meanwhile, plays the more reactive role, constantly seeking food and comfort, complaining and lamenting their situation. The men bounce from argument to affection at the drop of a hat, and both seem uncertain about whether they even like each other.

Godot is often referred to as an absurdist play, following in the philosophical footsteps of such thinkers as 19th century Danish philosopher Søren Kierkegaard. Absurdism is a philosophy that explores the inability of humanity to find meaning in life. This concept is woven into the story of Godot, and indeed, the interaction between the characters has an almost poignant emptiness at its center.

Schneider attempts to maintain the feel of a play while exploiting the technical benefits of cinematography. Much of the film is shot in large, static takes. The result is a motion picture that feels rather like a stage production.

Set designer Jac Venza creats a somber landscape fit for a Salvador Dali painting, comprised of forlorn hills, a drifting road and a lone tree from which the protagonists ponder hanging themselves on multiple occasions. The black-and-white cinematography and lack of a musical score further strengthens the film’s calculated hollowness.

The real action and impact of Godot is in the dialogue, which moves from insightful to ridiculous, from silly to sullen. But it’s always swift and snappy, with characters retorting one another in a constant duel of wits.

Godot is a work of subtleties through and through. If you’re looking for bright lights and flashy effects, you’re likely to find the film an opportunity for a two-hour nap. If you prefer plot and plausibly written characters, Godot will likely frustrate you. If you require a clear message, you’ll be left wanting.

But for the viewer that seeks to grapple with the content and hedge out their own interpretations, Godot offers something special. The characters are memorable, though hardly realistic. The humor is dark and effective. The dialogue is accessible and entertaining. And the film is a real treat to the casual free-thinker or part-time philosopher.