Paula Nelson, en hårdkogt detektiv, tager til Atlantic City for at møde sin elsker. Der får hun af vide, at han er død, og hun beslutter at undersøge sagen. Hun myrder en mand på sit hotelværelse, og kroppen dukker senere op i forfatteren David Goodie’ lejlighed. Snart efter bliver Paula arresteret.
Denne film spiller ikke i øjeblikket på MUBI, men 30 andre gode film gør. Se hvad der vises nu
Godard's kiss-off to making "fun" movies is, ironically, one of his most inviting, maybe because Godard's allusions are so very American. This fluff is Godard trying to reconcile our country's best absurdities (his favorite B-movies) with our worst, finally segueing his obsession completely from genre to politics. Anna Karina, even though she's watching tears go by, still makes a wonderfully plucky detective.
Where is truth in a world so inundated with mass-produced/disseminated signs & tropes that life itself is outpaced and always arrives, too late, as a cartoonish imitation of culture? "Now fiction overtakes reality." Meaning is prefabricated & implied; no need to bring it; we know these scenes well. Interaction reduced to rhythm; polemic to an aural aesthetic; the world to mise-en-scene. So where from here is forward?
Godard says goodbye to Anna in this film. She is so badass in this picture. An avenging angel of death. The film is a glorious pop art recipe of genre and radical politics. It's not the general you remember though it's the details. Like Jean Pierre Leaud's hilarious death scene.
Another great Godard film from the 1960's! Karina is magnetic as always, cinematography is colorful and pointed, and Godard's mélange of high- and low-brow references round out a solid cinematic statement, and part of his transition into the purely political and detrimentally didactic. Still, this one maintains a lightness and effervescence - that je ne said quoi that makes Godard's work so special.
Definitive Godard - the purest expression I've yet seen of his fascination with language in all its forms, a theme given constant attention to through nonsensical dialogue. The politics are obvious, but the contradictions inherent in Godard's condemnation of American culture and usage of pop art aesthetics points to the film's deeper interests - that of communication, especially between the director and his audiencs.
The film ends with the question of how we should discuss politics. Perhaps, Godard suggests, it is a question that cannot be answered. The obscurity of the film's politics is both the most interesting thing about it, but also the most frustrating. The plot is convoluted and confusing - which plays into the hazy messages the film offers - and beautiful like other JLG films of the period. Fun, but very frustrating.