Masculin féminin: 15 faits précis (1966)

Director:

Jean-Luc Godard

Writers:

Jean-Luc Godard (writer)
Guy de Maupassant (stories)

Release Date:

22 March 1966 (France)

Genre:

Drama

Plot:

Paul is young, just demobbed from national service in the French Army, and dishillusioned with civilian life...

Plot Keywords:

Friend | Singer | Vietnam War | Pinball Machine | Imagery

Awards:

3 wins & 1 nomination

Cast

Jean-Pierre Léaud	...	Paul - un jeune homme instable
Chantal Goya	...	Madeleine Zimmer - une petite chanteuse
Marlène Jobert	...	Elisabeth Choquet - la copine d'Elisabeth
Michel Debord	...	Robert Packard - un syndicaliste
Catherine-Isabelle Duport	...	Catherine-Isabelle
Eva-Britt Strandberg	...	Elle (la femme dans le film)
Birger Malmsten	...	Lui (l'homme dans le film)

Also Known As:

Masculin, féminin (France) (short title)
Masculine, Feminine: In 15 Acts (International: English title) (complete title)
Masculine-Feminine
Maskulinum - femininum (Sweden)

Runtime:

110 min | Argentina:103 min | Sweden:104 min | USA:103 min

Country:

France | Sweden

Language:

French | Swedish | English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Singapore:M18 | Iceland:L | Australia:MA | New Zealand:R16 | Argentina:16 | Chile:18 | Finland:K-16 | Germany:18 (w) | Sweden:15

Filming Locations:

Paris, France

Company:

Anouchka Films

Trivia:

The film was shot in Sweden. Ingmar Bergman, not being a fan of Jean-Luc Godard found out about the film, went to go and see it and called it "a classic case of Godard: mind-numbingly boring".

Quotes:

Paul: Kill a man and you're a murderer. Kill thousands and you're a conqueror. Kill everyone and you're a god.
Elisabeth: I don't think God exists.
Paul: We shall see.

Movie Connections:

Spoofs Tystnaden (1963)

Soundtrack:

Si, tu ganes au flipper

beautiful

I can't get over how beautiful this film is. First, Leaud gives such a wonderful performance, and its humor is easily overlooked; his face, in certain scenes, has an aloof, unsuspecting, and innocent quality, that it ads to his confusion-we wonder how he can be involved in something as serious as the communist party. He travels through his life with a sort of on-purpose, slash, accidental attitude that I can never quite explain. Then, there's Madelaine. Madelaine, with her jet black hair, confusion of love vs. sexuality, and striking beauty, represents everything I love about the women of the French New Wave. Very insecure, but, at the same time, they have definite plans and agendas. Finally, with all of the political and social commentary, it's easy to overlook just how visually beautiful the film is. The two protagonists, in bed, unsure of what to make of their intimate situation. They're so close, so attracted to each other, and Godard puts them in such a beautiful composition and lighting that it almost seems saccharine, but they still don't know what to make of it.