Heart obliterated. Poses which never result in any kind of blossoming musical movement, musical cues which never lead to musical movement, an aesthetic, emotional, communal, individualist limbo, fastened supremely between oppositional elements. Sure, there's much distanciation, but the overall effect is thoroughly poignant. Vérité, working the frame, blistering montage sequences, sincerity: another Godard masterwork.
The beauty of stylish color the characters create for or put on themselves in the midst of reality's drab gray.
A thorough and questioning exploration of heterosexual love.
If they made more musicals like this, I would watch them. In any language.
From the beginning it's experimental, but also ultimately accessible. The music and sound editing are the most conspicuous elements, and it may take a while to get used to them, but by the end, they enhance the film in ways that you never dreamed of. Karina is incredibly cute and lighthearted. I have to admit this accomplishes a great vision, even if I don't really like Godard as an individual.
Though this film was one of the least-successful of the New Wave films when it was first released, this stands, to me, as one of the best of Godard's early films, grabbing onto the viewer from the very beginning. Additional power comes from the music and the way that the music is mixed with the live soundtrack, with the music stopping dead when people talk, or the music serving as an exclamation point to the scene
Mungkin memang Godard cuma pengen diingat karena 'gaya'-nya yang enggak jelas ini. Berhasil karena pemainnya cantik-ganteng + narasi sesuka hati + color scheme yang catchy. Substansi? Nol. Kalau mau belajar bergaya, belajarlah ke Godard.
I have a confession to make- I am in love with the cinema and philosophy of Jean-Luc Godard. With this film, he gives one of his biggest Anti-Hollywood statements, pointing aim at the movie musical. In doing such, he created this wonderful little gem that I think may be under seen!
A film about ideas and about how to express those ideas through the medium of film. It deals with the situation of a strike and moves through a series of practical and analytical passages (“an organization of shots”, in Godard’s words) into a finale based around the process of manufacturing weapons.
An analysis of the social upheaval of May 1968 made in the immediate wake of the workers’ and students’ protests. The picture consists of two parts, each with with identical image tracks, and differing narration.