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.
Less coherent and refined than Two or Three..., but still a great examination of '' La société du spectacle '' and his process of communication through the cinematographer. (There's a very instructive video essay by Richard Brody and Colin Maccabe in the Criterion boxset which made me want to give a 5 stars to the film)
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.