Como en "Banda aparte" o "Pierrot el loco", Godard reinventa su fascinación por el cine noir de EEUU. Ese juego del título que evoca más bien a una suerte de sátira, cuestión que parece ocasionalmente perfilarse a ello. "Made in USA" tiene de vodevil, de absurdo, de incongruencias y cabos sueltos. La película tiene ese gran valor de fluir sin problema. Ahora, lo cierto es también que tiene un efecto boomerang.
Another great Godard film from the 1960's! Karina is magnetic as always, cinematography is colorful and pointed, and Godard's mélange of high- and low-brow references round out a solid cinematic statement, and part of his transition into the purely political and detrimentally didactic. Still, this one maintains a lightness and effervescence - that je ne said quoi that makes Godard's work so special.
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..
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.
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.
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.
"A Looney Tunes rendition of The Big Sleep gone New Wave." Wow, that sounds like a fun movie. Instead, though, Made in U.S.A. is a rambling, alienating mess. Full of politics and movie references and disorienting sound effects and jump cuts, it really doesn't add up to much of anything. Nice colors, though.
The film ends with the question of how we should discuss politics. Perhaps, Godard suggests, it is a question that cannot be answered. The obscurity of the film's politics is both the most interesting thing about it, but also the most frustrating. The plot is convoluted and confusing - which plays into the hazy messages the film offers - and beautiful like other JLG films of the period. Fun, but very frustrating.