PC. "Tout Va Bien" would recover and expand the extraordinary initial hypnotic/deafening travelling at the car factory, one of this collective's great moments. The sound erupts stridently in and the political prophecy arises from off, which by conjugation with image leads to an iridescent duality: work is what is intertwined with a political doing called cinema.
British Sounds is a revolutionary film, both in the cinematic and the political definition of the term 'revolutionary'. Made for British television and rejected, the documentary explores class conflicts in Britain and ways to take action. Directed by Jean-Luc Godard and Jean-Henri Roger, as well as 'Comrades of the Dziga Vertov Groupe', British Sounds is a film that radically aestheticizes radical politics; [cont.]
While never precisely hectoring (it is too broken-down, muddy, diffuse, at odds with itself) BRITISH SOUNDS is nonetheless too declamatory at times. The final minutes are very weak indeed. Looking for new forms in fractured times, SOUNDS is profoundly successful in terms of its finding a form adequate to what it assays, though it seems to be advocating for a kind of militant cinema it doesn't actually represent.
JLG's Dziga Vertov era pieces work like a political video essay that lacks the narrative nous of his New Wave era films. There are still many merits nonetheless. His analysis of Marxist thought within a British context intrigues in displaying 70s Leftist groupthink. However, it has dated in its reading of Communism in tandem with Socialism. I would argue that JLG was a better filmmaker than a documentarian.
Typical Godardian grit in the salad with the expected shards of dissonant provocation and agit prop, be they political or stylistic. One gets the gist in the first ten minutes - although the car assembly-line footage is rather mesmeric - with the remainder almost a parody of these things. However the wannabe student protestors are suitably sent-up.
Godard in agit-prop mode - surprisingly watchable and at times engaging: the opening production line section and the later discussion amongst the workers have a real poignancy to them. The question for me is whether JLG recognised the irony of his positions: feminist discourse against male gaze camerawork, or the superficiality of the students' clearly privileged radicalism - rhetorically shaky but provocative.
Pretentious, lifted by its discussion of the place of women in gendered society and let down by the revolutionary bits of the second part. The nationalist / xenophobe but sounds like current affairs in UK.