Word: godard
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...session of the most prestigious U.S. cinema congress. In a way, the pebble ricocheted. Too many of the far-out films shown at this year's festival tried hard to be difficult but just turned out dull. Too many others were bad jobs by good directors (Bunuel, Bresson, Godard, Torre Nilsson, Varda). Though the sponsors had doggedly previewed 400 films, their efforts failed to turn up enough hits to fill out the festival's fortnight...
...seems to be based on the assumption that a very personal movie will be automatically honest, alive and exciting. Instead, Jutra's wordy confessional sounds as though something may have been lost by rendering it into English, and often looks like a smattering of Jean-Luc Godard uneasily combined with the self-absorption of Fellini's 8½ or the glib self-exposure of Arthur Miller's After the Fall. "I wish only to move, surprise, provoke," Jutra has written. "The important thing in life is to have fun. The rest is a hoax." Unhappily, the mirror...
Band of Outsiders, another backward-looking venture into crime, is a prank by France's prolific Jean-Luc Godard (Breathless), a wayward but talented wonder who fills the gap between his more inspired movies by sketching out such trifles as Outsiders. Heroine Anna Karina plays a wistful student who meets two ne'er-do-wells and helps them plan the robbery of her aunt's chateau. They bungle the job, but meanwhile abandon themselves to a couple of amusing Godardian escapades-taking over a cafe with an impudent little dance of alienation, romping through the Louvre...
After Contempt, Godard achieved yet another masterpiece in The Married Woman, a film, according to Godard, "in black and white." In this film, Godard attempted to portray the dilemma of modern women, forced to make "black and white" decisions in a masculine-dominated society, yet incapable of doing so. Godard insist on exploring every tiny aspect of the art of film; even the use of black and white film, normally taken for granted, is done with a purpose. Godard continues to make two or three films a year, and his latest efforts, Alphaville and Pierrot le Fou, while not quite...
Chris Marker, for example, has extended Godard's use of natural settings to its logical extreme, the poetic documentary. Marker's The Kimono Mystery and Jetee, both only sixty minutes along, use real people rather than actors and employ the cinema-verise technique of interviews rather than dialogue. Jacques Demy, on the other hand, painted his settings every conceivable color in The Umbrellas of Cherbourg to create a fairy-tale world. In contrast to Marker's candid sound-tracks, every word in Demy's film was sung to the tunes of Michel Legrand...