Not my favorite Godard. Lemmy's craggy face holds your interest for a bit of time but his deadpan parody performance of classic film noir/hardboiled detectives gets old quickly. Anna Karina seems distracted and detached. ‘’Reality is too complex. What it needs is fiction to make it real,” says the computer. Not real enough.
Godard is hit or miss with me. "Alphaville" lands somewhere in between. Some impressive camera work, clever nods to film noir and effective use of 1960s Paris architecture. Yet overall it leaves me blank when it ends. The film seemed pointless, a common critique I've heard of Godard, which requires watching again till one finally gets it. So I will do that plus read some critics to get a clue.
Gorgeous cinematography. A surfeit of spiral staircases. Towards the last third, the movie began to drag a little, though this could be because the material has since been rehashed in lesser films, and is no longer so fresh. The ending is reminiscent of the end of "Blade Runner."
Excellente distopie mêlant IA, culte de la logique, fascisme et symboles de la modernité d'époque (Brutalisme en architecture, voitures etc...). Les hommes sont exécutés car ils ont pleuré, les femmes ne sont que bonnes à être des objets de désire. La Novlangue est présente partout et personne ne se comprend. Excellent
As mentally dense a movie as you'll ever find. Aiming at an audience of intellectuals (and/)or artists, Godard's self-perpetuating monotony of tired sales pitches for universality - and his lifeless, concrete landscape hinting at some kind of failed technological achievement - is more horror than sci-fi or noir.
Crazy ol' Godard trying to do his best neo-noir. Combines film noir's hard-boiled detective with sci-fi's dystopian future, mixed up in a big ol' bowl of Godard's wacky film style, and you get Alphaville. It's an interesting picture and somewhat engaging... but if I had to listen to that croaky-voiced narrator one more minute, I would have shot myself in the head ...in a black-and-white stylistic manner, of course.
"Your voice, your eyes, your hands, your lips. Our silences, our words. Light that goes, light that returns. A single smile between us. Away, away, says hate; closer, closer, says love. Increasingly I see the human form as a lover's dialogue. The heart has but one mouth. Everything by chance. A glance, a word. Because I love you. We must advance to live. I went toward you, endlessly toward the light."
What people say about Godard films are more interesting than the films. This one is a low budget movie where an actor drives a Ford Mustang but the story assures us it's an interstellar ship: why let lack of budget get in the way of an intergalactic plot? The movie mixes genre with a sort of Dick Tracy meets Cold War spy flick but doesn't really work. Godard's American private eye saves the world with poetry.
2-3. This is a really hard movie to approach because honestly most of it is world-building and bald, philosophical exposition. There's very, very little conflict up until the end when the movie finally spins fully off into abstractly expressionistic visuals, gun violence, and direct philosophical confrontations. Even if the ideas (of which there are many) turn you on, its base is fairly flawed.