Like a Looney Tunes rendition of The Big Sleep gone New Wave, this chaotic crime thriller and acidly funny critique of consumerism features Anna Karina as the most brightly dressed private investigator in film history, searching for a former lover who might have been assassinated.
"...he wrote an editorial about how fascism was the currency of morality""...I stopped working in advertising because I believe it to be a form of fascism". Oh, Godard. Oh, the french 60s. What a gloriously pretentious commie time.
This film typifies my ignorant assessment of Godard before I watched more of his films. Tons of ideas, wordplay, bright colors, and the actors smarmily smirking at the cleverness of it all while talking about everything and nothing. Godard is a post-modern (and more learned) proto-Jimmy Fallon who likes cars and big walls of color. Clever, but nonsensical and boring. I liked "2 or 3 things I know about her" more.
Ou cette vie n'est rien. Ou bien il faut qu'elle soit tout. En envisageant de la perdre, plutôt que de la soumettre à l'absurde, j'installe au cœur même de mon existence relative, une référence absolue, celle de la morale
The couple's last joint effort, made when they were already divorced. One can feel that cold distance between the two: Anna seems to be forsaken by Jean-Luc's frigid look, who was more than ever interested in the experimentation of his cinematic language. There's a total absence of feelings here, there ain't no love. There's only a girl and a gun. A very late goodbye to a dead romance.
completely incomprehensible, though I think that may have been the intention. generally a mishmash of compelling details, images and stories mashed together in a way that elaborates and concludes none of them. not godard's finest, but worth watching for its imagery alone.