Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a strange professor named Jean Luc-Godard (sic), who repeatedly xeroxes his hand for no particular reason. He is followed by four humanoid goblins that keep tormenting Cordelia. There is also the gentleman whose girlfriend, Valerie, isn’t always visible. Then the film is sent off to New York for Mr. Alien to edit. —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
Godard chimes into Shakespearean screen paraphernalia with this strange composite, with an eclectic cast for an eclectic conglomerate. Less intriguing and more just ‘there’, and baffling, also too aesthetically glaring to even cling to that; made all the more inscrutable by its breaking out into greater, all but limitless glimpses at the cultural Real. Yet it’s still not unwatchable, if only for some ingrained penchant for Godard’s neverending willingness to spit on the rule book - even if his spittle does render it all illegible in this one.
If the video quality had the same quality of the soundtrack King Lear would be a great film, even with the occasional scenes that look like a teen's YouTube video done in a back yard.
A smorgasbord of Godard posters on occasion of a major retrospective in New York.