Word: godard
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Simon: Are there any young film-makers that you particularly like? I hope you don't like Godard...
...beyond Sontag. He is much clearer than she, to begin with, in his framework of a meditation on the numbers one and two. He explores the film as a perfectly realized experiment, the Ulysses of the cinema, and, putting scholarship before pleasure, even admits that there are influences from Godard. In the Persona essay, even more than in the other three, Simon's presentation is helped along by his editors' useful choice of stills, many in sequences, which clarify important scenes and give a feeling for the marvelous texture of Sven Nykvist's cinematography...
Revolution also set the pattern of Bertolucci's lush, visual style, a kind of free-flowing flamboyance that seems to be a celebration of the act of filmmaking. There were references to movies, countless movies, everything from early Godard to Red River. Bertolucci continues this tradition of paying homage to his mentors: In The Spider's Stratagem, made in 1969, the camera lingers briefly over a poster for Robert Aldrich's Wagnerian western The Last Sunset; in Tango there is a scene aboard a barge, between Maria Schneider and Jean-Pierre Leaud, that is meant to evoke...
Refeison builds this complicated potpourri on bogus techniques. Again and again he cuts into the middle of a scene, in an overcalculated bid for involvement. Or he mystifies with new angles until perspective exposes the banality of his subject. This is tinplate Godard, confusing instead of intellectually surprising. Take for instance, the scene of David's train arrival. He steps onto a deserted platform and confronts a raucously singing spike-heeled floozy who throws open her fur coat to reveal a chintzy Miss America costume. Then four creatures who look like skid row relics show up with battered horns...
...analyses Bob Rafelson's style, pulling out on route some of his favorite baseball cards--Fellini, Bergman, Antonioni, Truffaut, Godard, Hitchcock, Ford, Welles, Walsh, Nichols, Mazursky, Grosbard--all in one short and easy review. Past the intro, there's no more social consciousness. It is pretty nervy for Sarris to condemn "disconnection with the Other" midway through as a misinterpretation of auteurism's roots. At that point he's already lost three quarters of his non-acolyte audience...