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Watch any one scene from any one of his films in the past 15 years, and it cannot be mistaken for work by any other director.The way he frames scenes off center, his exceptional use of sound and shards of music (like he is a DJ remixing parts of techno-pop with Bach and Beethoven), the way the characters speak in intellectual riddles, and the way scenes are at once serious and deadpan funny -- all are distinctive markers. , which was made in 1987, is a little more difficult and maddening than usual.The thing that makes it not as boring as it might have been, aside from the random shots of the man with the naked woman dancing, is the rock band.I've never heard them or seen them before, but they work very well when Godard cuts to them.She leads him on while dragging the two of them ...See full summary » In this modern retelling of the Virgin birth, Mary is a student who plays basketball and works at her father's petrol station; Joseph is an earnest dropout who drives a cab. See full summary » Everything returns to normal after Chernobyl. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the ... Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to ...
it's just 'there', more for die-hards than anyone else.
Many of the films made by Jean-Luc Godard, in his 40-year career are idiosyncratically verbose, self-consciously probing, philosophical inquiries that deal with the dialectics and concepts of life, death, history, politics and film. , translates literally as "tend to your rights"), a muddled film with three plots; the main one about a filmmaker (played by Godard) trying to deliver a film to a producer in 24 hours. His career, which encompasses some 50 films, falls into four general categories: the New Wave period, from 1959-1968 (Breathless through One Plus One); his Marxist politics and dialectics period, from 1969-1980 (Wind From the East through Comment Ca Va?
What they often don't feel like is a regular movie with a bunch of characters and a plot. ); his re-emergence as commercial maverick, between 1981-1990 (Every Man for Himself through Nouve Vague); and his personal montage essay films, from 1992 to present (Germany Year 90 Nine-Zero through Histoire du Cinema).
But sometimes, his films are so off the charts that they seem, at best, mere folly, and at worst, incomprehensible doodling. The main one concerns an airplane trip taken by Godard's character (named by fellow characters, alternately, "The Idiot" and "The Prince"), to deliver a film to producers, another involves a rehearsal session by a two person techno-pop band named Rita Mitsouko, and the other involves a series of annoyingly silly scenes with an overweight guy called only "the individual" (played by French Comedian Jacques Villeret). is more concerned with asserting the significance of art in a world that isn't interested in art.
After a series of odd, sometimes perplexing, scenes, the Prince delivers his film, the band takes their act on the road, and the individual has been arrested for spying on a woman. The title may be interpreted as the film's "message," as if Godard is saying that, despite setbacks or producers telling you what to do about your art, just ignore them and keep up your own right.Godard himself plays "The Prince", aka "The Idiot" out of Dostoyevky's novel, and oddly enough when Dostoyevsky's classic comes up as one of Godard's rumination-narrations it actually comes off interesting, for, well, all of two minutes.