Word: leaud
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Dates: during 1970-1979
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Skolimowski fills his backgrounds with imagery (a painter covering a wall in red, a man in the swimming pool rolling over and over in a kayak) that is both disorienting and quite funny. Mike is clearly descended from the manic protagonists embodied by Jean-Pierre Leaud in Godard's films and in Skolimowski's Le Départ. They all suffer their youth as if it were a wound...
...Domicile Conjugal), this director's latest work, is the final episode in his remarkable cycle of films utilizing his autobiographical persona, Antoine Doinel. As in the previous segments of this informal series ( The 400 Blon's, Love at Twenty, and Stolen Kisses ), the hero is played by Jean-Pierre Leaud and his dilemma has to do with the conflict between his grandest visions of romance and the dulling routine that is in reality his existence. With variations. Antoine's problem is shared by the heroes of most of Truffaut's non-Doinel films as well- but nowhere...
When he does capitulate, it is not unlike the final defeat of Victor at the end of Truffaut's last film, The Wild Child (which was dedicated to Leaud). Having been tamed by civilization, Victor must finally accept love on his captor's terms, thereby closing off the possibilities of life that had been his in the forest. By the conclusion of Bed and Board, Antoine and Christine have transformed their relationship into an apparently mindless mechanism, causing their next-door neighbor to remark to her husband that the newlyweds are now "really in love...
...terms or a physicist his instruments. Le Gai Savoir, as of 1968 Godard's furthest attempt, is consequently cut off from reality. There's no more going into people's homes with questions, no direct action or activism, no direct contact with reality for the characters. The images Leaud and Berto see are all second-hand; still photographs with handwriting predominate...
...formal analysis of cinema tells him that such direct embodiment is impossible, and he acknowledges this twice. First, and more gently, come the three successive times when Leaud tells Berto: "If you want to see the world, close your eyes, Rosemunde." Godard cuts to shots of Parisians on the sidewalk: within a film, seeing the real can only be an act of imagination, that is of closing your eyes. Second, at the end of the film Berto declares: "This [the film] was not and never will be, because this IS." It never has actually existed and never will...