Godard and J.P. Gorin's hourlong essay on the star of their previous movie--a reflection on a photograph of Jane Fonda among the North Vietnamese. If I recall correctly, Pauline Kael found this movie aestheticized and repugnant; I find it aestheticized and beautiful. Godard's Marxist period now does feel dilettantish, chosen (to quote John Gielgud in a bad spy movie) as "an aesthetic decision more than anything else." But his dilettanterie feels like a grasp through the veil of form--which Godard, in rending it, mastered utterly--toward some fundamental truth about being human. He ultimately found it in the transcendental-poetic, Wallace Stevensish cosmos of his difficult "late" films; but am I the only person who finds this "didactic," "agitprop" period of Godard among his most beautiful work?
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