IMDb > Contempt (1963)
Le mépris
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Contempt (1963) More at IMDbPro »Le mépris (original title)

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Contempt -- Open-ended Trailer from Criterion

Overview

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7.8/10   16,062 votes »
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View company contact information for Contempt on IMDbPro.
Release Date:
18 December 1964 (USA) See more »
Genre:
Tagline:
Bardot at her bold, bare and brazen best! Reveling in Rome, cavorting in Capri...jolting even the jaded international jet-set in her pursuit of love! [UK Theatrical] See more »
Plot:
Screenwriter Paul Javal's marriage to his wife Camille disintegrates during movie production as she spends time with the producer. Layered conflicts between art and business ensue. Full summary » | Add synopsis »
User Reviews:
A difficult film. See more (118 total) »

Cast

  (in credits order) (verified as complete)

Directed by
Jean-Luc Godard 
 
Writing credits
(in alphabetical order)
Jean-Luc Godard  uncredited
Alberto Moravia  novel "Il Disprezzo"

Produced by
Georges de Beauregard .... producer
Carlo Ponti .... producer
Joseph E. Levine .... producer (uncredited)
 
Original Music by
Georges Delerue 
Piero Piccioni (Italian and Spanish version)
 
Cinematography by
Raoul Coutard 
 
Film Editing by
Agnès Guillemot 
Lila Lakshmanan (uncredited)
 
Costume Design by
Tanine Autré (uncredited)
 
Makeup Department
Odette Berroyer .... makeup artist (uncredited)
 
Production Management
Philippe Dussart .... production manager
Carlo Lastricati .... production manager
 
Second Unit Director or Assistant Director
Charles L. Bitsch .... assistant director (uncredited)
 
Sound Department
William Robert Sivel .... sound (as William Sivel)
 
Camera and Electrical Department
Joe D'Amato .... assistant camera (uncredited)
Roger Robert .... grip (uncredited)
 
Other crew
Annie Chauvet .... publicist (uncredited)
Suzanne Schiffman .... script girl (uncredited)
Bertrand Tavernier .... publicist (uncredited)
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Le mépris" - France (original title)
See more »
Runtime:
103 min | Finland:97 min | USA:102 min | Italy:82 min (re-edited version) (cut)
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:PG | Brazil:16 | Chile:18 | Finland:K-16 | France:U | Germany:6 (re-rating) (2002) | Portugal:M/12 | Singapore:PG | Sweden:11 | UK:15 | UK:AA (original rating) | USA:Not Rated | West Germany:18 (original rating) (w) | West Germany:16 (re-rating) (199?) (VHS release)

Did You Know?

Trivia:
Jeremy's unusual house on the island of Capri was designed by Italian architect Adalberto Libera, who is better known for his large civic buildings. It was built in the early 1940s.See more »
Goofs:
Incorrectly regarded as 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.See more »
Quotes:
Paul Javal:There's nothing like the movies. Usually, when you see women, they're dressed. But put them in a movie, and you see their backsides.See more »
Movie Connections:

FAQ

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38 out of 47 people found the following review useful.
A difficult film., 20 February 2007
Author: OttoVonB from Switzerland

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.

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