Posts Tagged ‘jean-luc godard’

Go behind the scenes of Jean-Luc Godard’s “Every Man for Himself”

January 5, 2011

Photos from the set, downloadable soundtrack music, the original press kit and reviews, essays & interviews, Godard’s own notes…and much more at this fantastic website!

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Truffaut, Truffaut and more Truffaut

August 16, 2010

This week we’re showing the infrequently screened Francois Truffaut, An Autobiography on Thursday, followed by a week-long run of Two in the Wave, a new documentary about cinema’s most notorious friendship, that between Truffaut and Jean-Luc Godard.

How timely, then, that the New Yorker would this week post Truffaut’s last interview, accompanied by this piece of context provided by critic Richard Brody.  Read, learn, and watch.  By the end of this week you’ll be an expert in Francois Truffaut.

Godard’s Latest Bandes-Annonces

March 18, 2010

Viennale

September 23, 2009

For the second year now The Viennale has proven itself to be one of the most progressive film festivals in the world, commissioning trailers from some of World Cinema’s greatest filmmakers. Last year I directed readers to the trailer Jean-Luc Godard made for their program, a trailer that was much raved about the world over and has since become a staple of many shorts programs on this years festival circuit.

For the 2009 edition, Vienna recruited structuralist filmmaker James Benning (see above), who’s recent shift from 16mm to video film has been discussion amongst many in the experimental film world, including Benning himself who chronicles his transition in this month’s Cinema Scope (print version only). A man who has always been fascinated, and has certainly shown his dexterity with the materiality of art, one could consider this amazing record of the steel rolling process, shot in the Ruhr area, a kind of homage to material itself.

July 4 with Jean-Luc Godard

July 3, 2009

What better time to see the Seattle theatrical premiere of Jean-Luc Godard’s 1966 Made in USA than over July 4 weekend?

Here’s what the critics are saying:

“The Wire: Jean-Luc Godard’s Made in U.S.A. is not the celluloid holy grail, but it’s close enough…Made in U.S.A. is anti-capitalist and anti-consumerist, decrying miniskirts and rock ‘n’ roll as mind control, but it’s also more devoted to the vulgar modernism of mid-20th-century pop culture than any movie Godard made before or would make after.” -J. Hoberman (via the Seattle Weekly)

“In terms of Godard’s body of work, the 1966 film is as challenging as it is important.” -LA Times

And here’s A.O. Scott’s entire NY Times piece, because it’s provides some excellent context:

The mid-1960s were Jean-Luc Godard’s heroic period, the time when the vector of his talent seemed almost uncannily aligned with the direction of history. Between 1964 and 1967 Mr. Godard directed a mind-boggling nine feature films, completing one every few months in a frenzy of productivity that blurred the line between prolific and compulsive.

That a handful of these films have become touchstones — classics even — is one of the jokes that history likes to play now and then as it transforms bloody-minded aesthetic radicals into canonical figures. In an essay from 1968 that managed to be both gushing and analytically acute, Susan Sontag identified Mr. Godard as “a deliberate ‘destroyer’ of cinema,” yet somewhat paradoxically, his wanton, wily and thorough deconstructions of cinematic technique have become objects of preservation and examples for the future.

But he was also, from the beginning, a conservator of film history and a fetishist of cinematic form and genre. “Made in U.S.A.,” a 1966 quasi policier starting a two-week run at Film Forum on Friday, is dedicated to “Nick and Sam,” as in Nicholas Ray and Samuel Fuller, Hollywood mavericks who were objects of filial awe and Oedipal aggression for Mr. Godard.

As its title suggests, “Made in U.S.A.” pays ambivalent, tongue-in-cheek tribute to American movies. Shot in obviously French locations, it pretends to take place in Atlantic City and features characters whose names are a salad of American political and pop cultural references, like Robert McNamara and Paul Widmark.

One of Mr. Godard’s frequently cited sayings is the claim that all he needed to make a movie was a girl and a gun. There are quite a few guns in “Made in U.S.A.,” but the axiom only really applied when the girl in question was Anna Karina, Mr. Godard’s mid-’60s muse, who had recently become his ex-wife when this movie was made.

Looking a bit weary (perhaps from the strain of having appeared in so many Godard films in such a short time), Ms. Karina plays Paula, a fetchingly dressed young woman desultorily investigating the disappearance of her boyfriend Richard, whose last name is drowned out by sound effects every time it is uttered.

The detective story trappings are vestiges of the movie’s supposed literary source, a pseudonymous novel by the American mystery writer Donald Westlake, whose death a little more than a week ago gives the film’s current release a poignant timeliness.

“Made in U.S.A,” in any case, has rarely been seen in the U.S.A. since its appearance at the 1967 New York Film Festival. And while this film is far from a lost masterpiece, it is nonetheless a bright and jagged piece of the jigsaw puzzle of Mr. Godard’s career.

Sontag noted that “one of the most modern aspects of Godard’s artistry is that each of his films derives its final value from its place in a larger enterprise, a life work.” Anyone curious about the shape and status of that work will want to seek out “Made in U.S.A,” but there are also reasons for non-Godardians to make the pilgrimage.

There is, for one thing, a pouting and lovely Marianne Faithfull singing an a capella version of “As Tears Go By.” There are skinny young men smoking and arguing. There are the bright Pop colors of modernity juxtaposed with the weathered, handsome ordinariness of Old France, all of it beautifully photographed by Raoul Coutard. There are political speeches delivered via squawk box.

And of course there is a maddening, liberating indifference to conventions of narrative coherence, psychological verisimilitude or emotional accessibility.

As assaultive as “Made in U.S.A” can be, it also seems to have been made in a spirit of insouciance, improvisation and fun. If it doesn’t merit a place, with “Weekend” and “Band of Outsiders,” on the Godard’s Greatest Hits compilation — a perverse idea, I know, but an appropriate one for just that reason — it is still a great lost B side, a time capsule whose half-strength doses of Godardian self-contradiction, self-consciousness and provocation remain surprisingly fresh.

And finally, I offer this menagerie of various poster artwork the film has inspired over the years: