Carmen is a member of a terrorist gang who falls in love with a young police officer guarding a bank that she and her cohorts try to rob. She leads him on while dragging the two of them closer to their ultimate doom. Jean-Luc Godard intercuts the film with shots of a string quartet practicing Beethoven, and his main protagonist, Carmen, is played by Maruschka Detmers creating a stunning effect in many scenes of extended nudity. —IMDb
The lynchpin of the French New Wave, Jean-Luc Godard was arguably the most influential filmmaker of the postwar era. Beginning with his groundbreaking 1959 feature debut A Bout de Souffle, Godard revolutionized the motion picture form, freeing the medium from the shackles of its long-accepted cinematic language by rewriting the rules of narrative, continuity, sound, and camera work. Later in his career, he also challenged the common means of feature production, distribution, and exhibition, all in an effort to subvert the conventions of the Hollywood formula to create a new kind of film.
Godard was born in Paris on December 3, 1930, the second of four children. After receiving his primary education in Nyon, Switzerland – during World War II, he became a naturalized Swiss citizen – he studied ethnology at the Sorbonne, but spent the vast majority of his days at the Cine-Club du Quartier Latin, where he first met fellow film fanatics Francois Truffaut and Jacques Rivette. In May… read more
The old fart is very derivative of himself: Another ritzy cartoon, all abruption and no empathy… Godard says without saying, “being in love is like being thrown in the can.” There’s lots of slaps, gunfights under chandeliers, quotes from Proverbs and arguments in the nude. Like always, Godard’s girl steals the heart of the hero only to later pull the rug out from under him.
Godard deconstructs Bizet's opera and reconstructs as, at various points, a Bonnie-and-Clyde tale of lovers on the lam, a madcap comedy, a chamber piece, a modern urban romance, a courtroom drama and, finally, a tragedy. Godard plays a delightful parody of himself. Funny, sexy, and relatively accessible. Like much of Godard's later work, it's very much a film about its own construction.