Word: godard
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Dates: during 1960-1969
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...ones from the Rolls-Royce?" she asks. "There must be some of your husband too," the voice answers. She continues eating with no reaction. The word "fin" appears on the screen, enlarged at once to "fin du conte" and then changed to "fin du cinema." The sequence reveals Godard's awareness that in Weekend he destroyed the only cinema he loves--the American narrative ("conte") film...
What originally attracted Godard to American movies was their dramatic and visual design. They were narrative dramas of personal experience and development in which the characters expressed whatever the film's makers wanted to say. The physical and spiritual effect of events on the characters was the means of describing their physical and social environments. (An example of a different sort of drama is seen in Eisenstein. He composed masses of people in images whose dynamics directly express his intended meaning without the mediation--reactions--of individual figures...
...unburden his spirit on the subject of "A Wesley an Education." This was a student-requested innovation. The only student to speak at any length was a dark, angular boy in a plaid lumberjack shirt. He identified himself as a political radical and film maker, quoting a Jean-Luc Godard epigram: "We are the children of Marx and Coca-Cola...
Such moments are isolated in a screenplay that is full of mocking disdain and covered with an insincere bonhomie. From now on, Jean-Luc Godard may have to train his insights elsewhere. After all, why bother to guillotine a victim who is busy poisoning himself...
Pierrot is not a pessimistic statement on the meaningless of human existence. There is too much beauty in the film to be able to come away with a feeling of total despair. In Godard's words, "the cinema, by forcing reality to unfold itself, reminds us that we must attempt to live...