Word: godard
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...film-maker who suspects that both documentary and story are lies isn't likely to respect the concept of entertainment, either. As a result, going to the movies has become a chiefly personal experience-we want to know which things Bunuel can still believe in, and which Godard cannot...
ANDREW SARRIS, who should know, calls Godard "the most self-conscious film-maker in the world." In Vent de L'est, a 1969 film which opened at the Festival, Godard passes from self-consciousness to militant solipsism. The movie is, first, about capitalism, colonialism, and exploitation. It is a Western, set at the Alcoa plant just outside of Dodge City. Almost numbingly didactic, the film catalogues the niceties of repression, as Godard's troupe performs a classic ballet; a strike occurs; a delegate to management is chosen; active minorities speak up; an assembly is followed by repression; an active strike...
...said in praise of a tough little movie called Darker Than Amber. It represents a kind of film making that is currently unfashionable: the straightforward, uncluttered private-eye melodrama that was so much a part of the American cinema of the '40s. It is a tradition to which Godard payed homage in Breathless, and out of which came some first-rate film makers like John Huston...
...course, Mick gets to sing in both films. In Performance, he delivers a zesty composition of his own, called Memo from Turner, and in Ned Kelly, he gives us approximately 847 choruses of The Wild Colonial Boy. Jagger's best film role to date is still in Godard's One Plus One, where he can be seen doing what he does best: just singing...
PEOPLE like Godard say no. Not only does the film push a limited and pretty disgusting view of man, but a weighty style forces it on you, oppresses you with it, so that you leave the theatre with sad masses knowing the Truth as dictated by Ingmar Bergman. Godard's own outrageousness, by comparison, keeps you alive and aware to the cinematic image as only "the reality of the reflection" and maintains a constant dialectic that makes his films argument rather than indoctrination. The Passion of Anna will admit no criticism into your experience of it. You must either embrace...