Not really my thing. Here, Godard's deconstructive devices--addresses 2 viewers, cartoon influence on gesture, abrasive sound tricks, pop-art insertions, persistent intertextual quotations/references--feel curiously tiresome, even insufferable. Gone is the camera's cosmic regard 4 Karina, gone is the surprising tonal clarity & honesty of PIERROT LE FOU. The final scene is a great documentary moment, though too late.
Where is truth in a world so inundated with mass-produced/disseminated signs & tropes that life itself is outpaced and always arrives, too late, as a cartoonish imitation of culture? "Now fiction overtakes reality." Meaning is prefabricated & implied; no need to bring it; we know these scenes well. Interaction reduced to rhythm; polemic to an aural aesthetic; the world to mise-en-scene. So where from here is forward?
"Anyway, your story isn't very clear". The political commentary was though, at times verging on the edge of propaganda. What the final conversation signaled, the left and right formula being outdated is for me a major foresight of what neo-liberalism has done today. Entangling us even further into capitalism. ps. Don't go in this thinking it is a Godard masterpiece. It's so and so.
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.
I don't know if the reason behind me not being able to truly understand this movie is because of my lack of knowledge of the history, or if it is the fault in the subtitiles...but this movie was worth the time. I would watch it again just to understand it more.
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.
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.