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Tout va bien (1972)

 -  Drama  -  16 February 1973 (USA)
6.7
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Ratings: 6.7/10 from 1,895 users  
Reviews: 29 user | 24 critic

Godard examines the structure of movies, relationships and revolutions through the life of a couple in Paris.

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Cast

Cast overview, first billed only:
...
...
Vittorio Caprioli ...
Factory Manager
Elizabeth Chauvin ...
Genevieve
Castel Casti ...
Jacques
Éric Chartier ...
Lucien
Louis Bugette ...
Georges (as Bugette)
Yves Gabrielli ...
Léon (as Yves Gabrieli)
Pierre Oudrey ...
Frederic
Jean Pignol ...
Delegate
...
Leftist woman
Marcel Gassouk
Didier Gaudron ...
Germain
Michel Marot
Hugette Mieville ...
Georgette
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Storyline

Jean-Luc Godard dissects the structure of society, movies, love and revolution. He asks compelling questions: Can love survive a relationship? Can ideology survive revolution? He also looks at the French student riots of the 1960s with a critical eye, and ends up satirizing contemporary views of history. A battery of thoughts complete with criticism of modern society and movies. Written by Mikael Halila <mikael.halila@pp.inet.fi>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

|

Language:

|

Release Date:

16 February 1973 (USA)  »

Also Known As:

All's Well  »

Company Credits

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Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Connections

Featured in Scenes Under the Midnight Sun (1987) See more »

Soundtracks

Il y'a du soleil sur la France
Lyrcis by Franck Thomas & Jean-Michel Rivat
Music by Eric Charden
Performed by Stone et Charden
See more »

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User Reviews

 
Deeply flawed but nonetheless important
17 September 1999 | by (Grapevine, Texas, USA) – See all my reviews

After his four-year, self-imposed Maoist/nihilist "exile," Godard made a temporary -- albeit slight -- overture toward conventional commercial (or "bourgeois," as Godard called it) cinema by combining a leftist political essay with a dissection of human interaction. Alas, the film fails on both these levels; as a study of the male-female relationship, it is nowhere near "Contempt" and "Masculin-Feminin"; as a pure Maoist political tract, it is shallow and mind-numingly boring compared to "Le Gai Savior" and "Vladimir and Rosa." Nevertheless, "Tout va bien" is nonetheless important within Godard's extraordinary body of work, for it marked the beginning of the seven-year process in which his films would gradually shed their ultra-leftist leanings and move towards more universal, humanistic themes, a process that would ultimately cumulate in the excellent "Every Man For Himself." Even true Godard aficionados will be as bored as everyone else, but they should nonetheless go out of their way to secure a copy.


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