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A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations Written by
Michael Brooke <email@example.com>
The character, Saint-Just, played by Jean-Pierre Léaud, is based on Louis Antoine Léon de Saint-Just (1767 - 1794), a French revolutionary and military leader closely allied with Robespierre. He served with Robespierre on the Committee of Public Safety, becoming heavily involved in the Reign of Terror, and was executed on the same day as Robespierre. Leaud's character is reciting from Saint Just's 'L'esprit de la Révolution et de la Constitution de la France', a founding text of revolutionary ideology. See more »
I am here to inform these modern times of the grammatical era's end and the beginning of flamboyance especially in cinema.
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Yeah, it's super bizarre and it's probably Godard's strangest work (which is saying a lot) that I've seen, but I still couldn't look past the glaring flaws and just love the wonderfully surrealist images. The first hour or so of the film is pretty much perfect, combining a brutally random sense of violence with some delightfully weird fantasy images and a dark, dark sense of humour. The infamous ten minute long tracking shot of the traffic jam manages to remain entertaining throughout by linking a series of hilariously comic moments. I also especially liked the bit with the guy with the Porsche singing into a pay phone and the inexplicable appearance of Emily Brontë, who is dismissed as a fictional character and lit on fire. However, once Godard's political beliefs begin making their presence felt in an all too explicit and blatant manner, the film grinds to a halt. I was simply bored during the long monologues on America's foreign policy, which seemed a rather childish attempt by Godard to get his message across. The film never really recovers from this, as even the appearance of a group of cannibalistic revolutionaries can't bring back the same sense of black comedy that populated the first 2/3 of the film. Still, it's utterly brilliant for a majority of the time, and its bizarre images mask a mostly subtle and intelligent tirade against society and commercialism. Not for the faint-hearted, though.
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