Contempt (1963)
"Le mépris" (original title)

Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let... See full summary »

Director:

Jean-Luc Godard

Writer:

Alberto Moravia (novel)

Stars:

Brigitte Bardot, Michel Piccoli, Jack Palance

Cast

Complete credited cast:
Brigitte Bardot	...	Camille Javal
Michel Piccoli	...	Paul Javal
Jack Palance	...	Jeremy Prokosch
Giorgia Moll	...	Francesca Vanini
Fritz Lang	...	Himself

Storyline

Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let his wife Camille drive with Prokosch and he is late, she believes, he uses her as a sort of present for Prokosch to get get a better payment. So the relationship ends.

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Plot Keywords:

american | apartment | marriage | italy | capri | 

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Taglines:

More Bold! More Brazen! And Much, Much More Bardot!

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Genres:

Drama

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Certificate:

Not Rated

Details

Country:

France Italy

Language:

French English German Italian

Release Date:

18 December 1964 (USA)

Also Known As:

Contempt

Filming Locations:

Isle of Capri, Naples, Campania, Italy

Box Office

Budget:

$900,000 (estimated)

Opening Weekend:

$33,284 (USA) (27 June 1997)

Gross:

$153,141 (USA) (5 September 2008)

Company Credits

Production Co:

Les Films Concordia, Rome Paris Films, Compagnia Cinematografica Champion

Technical Specs

Runtime:

103 min 82 min (cut) (re-edited)

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

The noticeable color palette of the film - red, white and blue - represents both the French and the American flags.

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Goofs

It is possible that all "mistakes" in the film that involve visible equipment are intentional, or at least intentionally uncorrected: the film, after all, is about the artificiality of making a film, and the initial credit sequence shows filmmakers shooting the film itself.

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Quotes

Jerry Prokosch: To know that one does not know, is the gift of a superior spirit. Not to know and to think that one does know, is a mistake. To know that this is a mistake, keeps one from making it. I have the knowledge here.

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Crazy Credits

The opening cast credits are read, without titles

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Connections

References Rio Bravo (1959)

User Reviews

A difficult film.

Paul (Picoli) is hired by vulgarian US producer Jerry Prokosh (Palance) to rewrite a screenplay for his adaptation, which Fritz Lang (himself) insists on shooting in a hyper-stylized, mythological fashion. Paul's relationship with his trophy wife Camille disintegrates as she feels abandoned by him to Prokosh's advances, and sees him subdue himself to these great men.

It is about film-making - of course! - it is about the plight of the artist, but where it succeeds most is in the carefully examined slow destruction of Camille and Paul's marriage. Raoul Coutard's cinemascope photography, filled with lush colors, only serves to highlight how little Paul is and how out of his depth he is. He and his wife hide it in different manners: Paul by trying to assert intellectual superiority over his wiser-than-she-appears wife, therefor earning her contempt. She hides by relying on her sensuality.

Godard typically references his love for film in a way that many will find pedantic, and the lush score isn't always wisely used, overwhelming and sometimes even obtrusive. But thankfully, Godard's message and cast survive the director's pseudo-intellectual short-comings. Bardot is perfectly cast as the ignorant innocent who strives to appear and be smarter than she is (even sporting a brunette whig at some point, in what is really a sad moment of self-loathing), but fails. Camille never convinces when she speaks, but the pain in those eyes is intensely real. Picoli's Paul is easier to sympathize with, as the "reasonable" whose every move to please anyone dooms him further. It is a cruel lesson and warning about relationships.

The film also serves a more sarcastic and amusing (and far more conscious) duel between Palance's Prokosh, superbly vulgar and dramatic, and Lang, who becomes a wise and immensely charismatic figure that stands against compromise. It is sad that this was the German master's only performance in front of the camera.

Le Mépris is slow, and if you get caught too much in Goddard's referencing and hyper-stylization, it will bore you. But if you really follow these characters, you're in for a unique, edifying and sometimes unnervingly uncomfortable ride.

Must be seen several times under different angles to be fully appreciated.