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.
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"...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.
Godard says goodbye to Anna in this film. She is so badass in this picture. An avenging angel of death. The film is a glorious pop art recipe of genre and radical politics. It's not the general you remember though it's the details. Like Jean Pierre Leaud's hilarious death scene.
The Good: Karina's beauty. Coutard's gorgeous cinematography. Karina's wardrobe. The eye-popping pop-art color scheme with deep reds being prominent (strangely reminiscent of Ozu's An Autumn Afternoon). Karina's coolness. The music and sound design. The Bad: The incoherent plot which is hardly worth worrying about. The Downright Ugly: Godard's tiresome didactic spouting of radical politics. Give it a rest, Jean-Luc..
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
Definitive Godard - the purest expression I've yet seen of his fascination with language in all its forms, a theme given constant attention to through nonsensical dialogue. The politics are obvious, but the contradictions inherent in Godard's condemnation of American culture and usage of pop art aesthetics points to the film's deeper interests - that of communication, especially between the director and his audiencs.