Every time I’ve watched Breathless, I’ve found it to be an entirely exhilarating film experience. With that film, Godard used the jumpcut, formerly considered a flaw in technique, as a technique in and of itself. Of course, he also used things like long takes and irises in unusual ways in unusual places in the film. Godard was all about breaking the rules that had been established by the classic French filmmakers that came before him, which is why Breathless, as his first film is such an all out assault on the form. It seems that the original poster mostly has a problem with Godard’s willingness to take you out of the film, but that’s exactly what he wants to do, and it’s what he does so well, and it’s why I so enjoy his films. Personally, I do not watch movies to “escape” into the world that they project before me. I watch them to appreciate the artistry at hand. This is what the French New Wave filmmakers were all about. They were the first ones to write about HItchcock, Ford, Hawks, Samuel Fuller, Welles, Nicholas Ray, Robert Aldrich, etc., recognizing them as true artists, with specific strengths and styles that separated them from the bunch. They appreciated these filmmakers for their form, rather than pure content, and went on to emphasize this aspect of film through their own work. In Godard’s case, specifically, he embraced formalism, perhaps more than any of the others.
I also have never understood the description of Godard as this kind of intellectual who didn’t know how to have any fun. Sure, once you get into his later films, as they became more film essays than than film narrative, this interpretation is understandable, but I find most most of his earlier films that have been cited here, such as Breathless, Bandé a part, Pierrot le fou, and Masculin, Feminin, with their freewheeling narratives and breezy handheld or overly formal styles to be so entertaining. I can honestly watch and enjoy them over and over, feeling like I’ve seen a completely new and exciting film each and every time.
Even though there are already several remakes and/ or alternate takes on this film, I would do a remake of the 1956 version of Invasion of the Body Snatchers. I’m a huge fan of 50’s era science fiction, and would love to try and modernize and twist that story while trying to keep the charm of the original. I think I would make it a period piece set sometime in the early 60’s, shortly after the JFK assassination.
10. Paul Thomas Anderson
9. Federico Fellini
8. Nicholas Ray
7. Abbas Kiarostami
6. Alfred Hitchcock
5. Andrei Tarkovsy
4. Jean Luc Godard
3. Apichatpong Weeresthakul
2. Michelangelo Antonioni
1. Stanley Kubrick
I need to see more from Bergman, Bunuel, Renoir, Ozu, Fassbinder, Passolini, Fritz Lang and Dreyer.
And I’m ashamed to say I’ve never seen a film by Mizoguchi.
Ive realized something about Jean-Luc Godard over 2 years ago
Every time I’ve watched Breathless, I’ve found it to be an entirely exhilarating film experience. With that film, Godard used the jumpcut, formerly considered a flaw in technique, as a technique in and of itself. Of course, he also used things like long takes and irises in unusual ways in unusual places in the film. Godard was all about breaking the rules that had been established by the classic French filmmakers that came before him, which is why Breathless, as his first film is such an all out assault on the form. It seems that the original poster mostly has a problem with Godard’s willingness to take you out of the film, but that’s exactly what he wants to do, and it’s what he does so well, and it’s why I so enjoy his films. Personally, I do not watch movies to “escape” into the world that they project before me. I watch them to appreciate the artistry at hand. This is what the French New Wave filmmakers were all about. They were the first ones to write about HItchcock, Ford, Hawks, Samuel Fuller, Welles, Nicholas Ray, Robert Aldrich, etc., recognizing them as true artists, with specific strengths and styles that separated them from the bunch. They appreciated these filmmakers for their form, rather than pure content, and went on to emphasize this aspect of film through their own work. In Godard’s case, specifically, he embraced formalism, perhaps more than any of the others.
I also have never understood the description of Godard as this kind of intellectual who didn’t know how to have any fun. Sure, once you get into his later films, as they became more film essays than than film narrative, this interpretation is understandable, but I find most most of his earlier films that have been cited here, such as Breathless, Bandé a part, Pierrot le fou, and Masculin, Feminin, with their freewheeling narratives and breezy handheld or overly formal styles to be so entertaining. I can honestly watch and enjoy them over and over, feeling like I’ve seen a completely new and exciting film each and every time.
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The Auteurs' Fake Criterion Covers over 2 years ago
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130/6168/ewsdvd.jpg
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The Auteurs' Fake Criterion Covers over 2 years ago
This is my first.
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The Auteurs' Fake Criterion Covers over 2 years ago
Someone needs to show some love for First Blood, Part 2.
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If You Could Direct A Remake... over 2 years ago
Even though there are already several remakes and/ or alternate takes on this film, I would do a remake of the 1956 version of Invasion of the Body Snatchers. I’m a huge fan of 50’s era science fiction, and would love to try and modernize and twist that story while trying to keep the charm of the original. I think I would make it a period piece set sometime in the early 60’s, shortly after the JFK assassination.
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Which directors have you given the most 10/10's to? about 2 years ago
Kubrick definitely has the most for me. The following guys have a few a piece:
Hitchcock
Godard
Kurosawa
Fincher
Billy Wilder
Nicholas Ray
P.T. Anderson
Scorsese
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Top 10 Directors. 30 days ago
10. Paul Thomas Anderson
9. Federico Fellini
8. Nicholas Ray
7. Abbas Kiarostami
6. Alfred Hitchcock
5. Andrei Tarkovsy
4. Jean Luc Godard
3. Apichatpong Weeresthakul
2. Michelangelo Antonioni
1. Stanley Kubrick
I need to see more from Bergman, Bunuel, Renoir, Ozu, Fassbinder, Passolini, Fritz Lang and Dreyer.
And I’m ashamed to say I’ve never seen a film by Mizoguchi.
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