A loose Biblical allegory starring the legendary model-artist-musician Zouzou as Mary Magdalene, French actor Pierre Clémenti as Jesus and the director himself as a misguided apostle.
From Philippe Garrel, a cinematic conflagration and re-invention of Biblical storytelling for a culture and an audience having just passed through the convulsions of May ’68. Unabashedly radical and ambitious, with an epoch-defining cast.
Cinematography by Michel Fournier. "Desire" list. Pierre Clementi, once more in this list. A loose and non-narrative Jesus, according to Garrel, which is a kind of a poetic justice, by his image and through Fournier and Garrel camera. He was, in that 68 filmic generation, the disturbed angel face of a generation, its personification and symbol.
Pretty terrible film from a young Philippe Garrel that despite some stylistic flourishes fails miserably in its conceit. Garrel takes on the Christ story and attempts to draw allusions to modern times and the political climate of the time period but it all comes off as twee, ineffective and somewhat juvenile. At times brings to mind the early work of Serra (Birdsong) in its starkness and emotional vacuum.
De la Nouvelle Vague, GARREL n'a retenu ici que la lenteur et l'ennui. Film à thème ou théatre filmé. Regardez plutôt sur le même sujet la Vie de Brian. ==== From the New Wave, GARREL retained only here the slowness & the boredom. Theme movie or filmed theater. Look rather The Life of Brian, on the same subject.
Splits the difference between Buñuel and Pasolini whilst splitting the difference between LSD and heroin. Counterculture gospel for the forlorn and fucked. The more things change the more the state apparatus remains the same.
Oblique movements confer psychological dimensions to the image, until, scene by scene, it is no longer possible to distinguish between allegory and the tempest of the Barricades. Deleuze would call it arbitrary, and in being so, relative or absolute. With Pardo's companion film, both are elevated to portraits of narcicissm, ennui, and, perhaps, love, but above all, the failure of '68 to be irreversible.
at the intersection between poetry and politics but gets lost in the deluge of I and thou. The atheism in politics is the megaphone infected by the silence. (atheism is the absence of politics) God is missing and present (where is politics). The film fails to provide the necessary condition for both absolutes (god/politics). I much prefer the angle of Pasolini, God is the atheist that fails to believe in the world.
Campy, literary, sexy, absurdist, cool & full of fervour. I both genuinely love it & can see why someone else'd find it ponderous/pretentious. Absolutely indulgent. But absolutely successful! Could be the Nico & the heroin-driven guitars that make me think it brought to film a bit of what the VU brought to music (but maybe just drug-fuelled iconoclasm & art-house cool). Anyway, impressive. Here's to the wunderkinds!