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Jean-Luc Godard: the artist and his muse

8 January 2016 3:00 AM, PST | The Guardian - Film News | See recent The Guardian - Film News news »

Jean-Luc Godard’s early films were distinct from each other in tone and form – romantic comedies, outlaw-chic, dystopian visions – connected only by the ‘shifting centre’ of his cinematic world, his wife and muse, Anna Karina

Jean-Luc Godard had a problem with endings. His early films often finish with a throwaway closure, a death, not quite real, distantly presented. His films are all middle, yet a sense of ending imbues them. For Godard, even love itself is something that is always winding down and his lover, his wife, the muse of the best of his early movies, Anna Karina, embodies this problem. Watching Bande à Part (1964) and Pierrot le Fou (1965), I really didn’t want these films ever to finish; the deep pleasure of being in the company of Karina, and Claude Brasseur and Sami Frey and Jean-Paul Belmondo, is so beguiling that you want the fun to last a little longer. »

- Michael Newton

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