One of my favorite of Godard's post-New Wave films. The Godardian commentary is there, just not as intrusive, not annoying as it can be in other films. Godard himself appears periodically in the film in a sly parody of mad man/wise fool filmmaker/ commentator. And then are those visually stunning, moments, as in his use of colors in scenery, as well as the incorporation of sky and sea as storytelling elements
'Is there a Frenchman in the house?' Oh, the gentleman with the specs, a ghetto blaster and a copy of Variety under his arm, feeling out the conditions to see if he can work under them, yes. Merci, Jean-Luc Godard, for cleverly toying with our expectations of what a movie could be.
"A slapstick, faux-philosophical take on a heist movie that has essentially nothing to do with Bizet’s titular opera. It’s the breeziest eighty-five minutes you can spend with Godard outside of his 60s work, and undoubtedly one of his funniest and most narratively inventive films." - IndieWire
Wonderful music! Didn't care too much for the romance though Carmen dangling her love/body like a carrot was mildly amusing. At risk of being a prude, I thought some of the sexier scenes felt gross like the "shower scene." All the sea/nature cutaways got repetitive and annoying! Not a film I would watch again, but I enjoyed the music very much
Kind of a messy film from the '80s. Choppy editing with intentions of combining a few different stories/mediums to make an overarching main narrative. Some of it works, some of it is just jarring and not necessarily enjoyable to watch. I applaud the attempt, however, and can see where Godard fans would enjoy this... but it does not hold up well enough for me to appreciate what Godard is trying to do here.
Godard brought new levels of fragmentation to 60s cinema. By the 80s, he was just as fragmented, but old enough to slow down. Casting himself as a combination madman filmmaker/lecherous uncle, he takes yet another tale of noir-redux amour fou but views it from the outside. And if its doomed young lovers keep on living, that's because Godard had lived long enough himself to look past the fiction of a Romantic death.
The old fart is very derivative of himself: Another ritzy cartoon, all abruption and no empathy… Godard says without saying, “being in love is like being thrown in the can.” There’s lots of slaps, gunfights under chandeliers, quotes from Proverbs and arguments in the nude. Like always, Godard’s girl steals the heart of the hero only to later pull the rug out from under him.
Godard deconstructs Bizet's opera and reconstructs as, at various points, a Bonnie-and-Clyde tale of lovers on the lam, a madcap comedy, a chamber piece, a modern urban romance, a courtroom drama and, finally, a tragedy. Godard plays a delightful parody of himself. Funny, sexy, and relatively accessible. Like much of Godard's later work, it's very much a film about its own construction.