Ebulliently harsh. Severely playful. The spiky style of editing, still-image collage, and title card interplay jettison the experience along with a flair for the absurd. The comic over-use of iconic red visual accents are thematically apropos and altogether aesthetically striking. It's a punchy visual melee of flat frames, shallow portraiture, and boxy diorama. Its talky political rhetoric might sharply deter some...
In which Godard satirizes the exact sort of people who go to see Godard movies. There is a value in this kind of cannibalism, not only because Godard does it very well, but because he maintains the right distance: even as its student heroes pontificate and act blind to their own absurdities, they occasionally hit on something that could pass for insight. A prescient, sardonic, tender dissection of radicalism abloom.
3.6 stars. Glad I saw this one when I was young and still had some fire in my guts where there now squats self-loathing. The pop art colour compositions are Godard's take on Constructivism and necessary to hold the attention while your apply yourself to the thought of changing the world and what it might mean if you actually did something with these thoughts. A dryly intoxicating incitement to violence præ-'68.
I would consider this a sincere portrait of radical life of French students during the 60s. Definitely a beginning of Godard’s turn to political cinema without drama. I disagreed with some of its praxis but enjoyed the arguments. I wouldn’t say many people would ‘get’ this film unless they were a Marxist themselves.
A film that definitely still has something to say. The train scene is still so tense and relevant and the film as a whole seems to have come back into focus with modern issues. As someone who's against war and violence 100% I find the characters incredibly fascinating in their convictions and can't hep but watch this film as a documentary at times. Not my favourite Godard but well worth a watch
The effects of an echo chamber - an early analogy for Facebook and Twitter. It's a darkly funny film and aesthetically impressionistic but the most striking scene is a grey commute on the train, where unexpected rationale is delivered by a grown-up. I used to mix with people like these and I can tell you, they're more concerned with their own place in the world than the ideologies they spout.
More pretentious twaddle from Jean-Luc Godard, it also at least has his usual eye for impressively stark visuals. And there are interesting ideas scattered throughout, they're just couched in moments that feel so smug and condescending they could almost be used in a film parodying this exact type of film.
Whatever the critics may say, this movie is most certainly not great (I would venture not even good) but it is loveable. It is the annoying right-on friend you had in college who still spouts Leninist cliches, it is a classic (ie embarrassing) record from your parents' collection that's always been a guilty pleasure, it is a most unrevolutionary excess of Frenchness, it is a visual panegyric to the 60s.
The apogee of Godard's 60s concern w/ an interrogational form of dialogue. The film & its making are often presented simultaneously; Godard is no longer suppressing the sound of his voice encouraging & examining the imprecision of this milieu of Maoist youth. The scene between Wiazemsky & Jeanson is simply one of the greatest exchanges ever filmed, w/ JLG acknowledging & welcoming the limits of his political beliefs.
At the best of times, Godard is easy to admire and near-impossible to love. I can appreciate his sentiments and intentions, but his characters are annoying, archetypal robots who exist only to make a statement, and his artistic choices are grating and incomparably pretentious. That's the point, sure. Doesn't change the fact that you couldn't pay me to watch this film again.