This film seems to confirm Godard's misogyny. The man is full of political ideals which he talks about in great detail. The woman looks at herself in the mirror. They're operatives working for the Left and the Right, who fall in love. Or at least he falls in love with the idea of her, since 'her' is an elusive term. He gets to be action man with guns and shooting and getting tortured. She combs her hair. contd.
Classic French cinema. Godard's second filmed feature was a foreshadowing of the challenging political work to come in its tale of a French deserter living in Geneva being manipulated by both sides in the Algerian conflict. Casting is excellent as is the cinematography and scripting that has a story to match the political agenda.
Here for Anna and Godard's compelling ads for cigarettes. Whenever I begin to smoke it'll be bc of him. His plots rarely interest me but from this one I was particularly distant. Would have rather had 90 min of only the photography scene. More irresistible advice ie when Bach/Mozart/Beethoven are best. More Anna fixing her hair. For Godard to talk to me thru his characters forever uninterrupted about art women & men.
Even more stunning & revolutionary than BREATHLESS. Political & existential issues have rarely been merged in cinema this powerfully. A quiet, deeply investigative film. Godard again spends much of his time assessing how to render conversational dynamics. Sharp singles, disorienting pans, an aesthetic interest in & pull towards Geneva landscapes, dissonance/atonality. To be on the wrong side of history: despair.
Early Godard just for the sake of his pure style almost continually has appeal. From the sharp, witty, intimate and seemingly spontaneous dialogue to the camera work with the exact same qualities. For this Le Petit Soldat is still enjoyable although the plot is completely forgettable, and Godard doesn't say anything interesting or original about the contemporary politics of the Algerian war.
Masterpiece. Strong political correspondences with subsequent Bertolucci films; the key difference is between Godard's philosophical search for a worldview beyond ideals and B.'s emotional wavering between idealism and cowardice. Superbly dynamic use of sound, and the eclectic, exuberant hybrid consciousness--genre, documentary, modernism--that makes the Nouvelle Vague such a treasure.
Saw this at the NuBev. <3 Karina is beautiful. Subor is a pitch-perfect Godard protagonist, wrestling with his own existential woes as much as the plot-based problems. The film is more straight-forward than some of Godard's other work but it relishes in the little moments. My favorite: Bruno asks Veronika to shake her hair back and forth and pays his friend $50, after betting that he wouldn't fall in love with her.