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Every Man for Himself (1980)
"Sauve qui peut (la vie)" (original title)

7.0
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Ratings: 7.0/10 from 1,751 users  
Reviews: 9 user | 16 critic

An examination of sexual relationships, in which three protagonists interact in different combinations.

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Writers:

(scenario), (scenario)
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Title: Every Man for Himself (1980)

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Cast

Cast overview, first billed only:
...
Isabelle Rivière
Jacques Dutronc ...
Paul Godard
...
Denise Rimbaud
Roland Amstutz ...
Second client
Cécile Tanner ...
Cecile
Anna Baldaccini ...
Isabelle's sister
Roger Jendly ...
2nd Guy
Fred Personne ...
First client
Nicole Jacquet ...
Woman
Dore De Rosa ...
Elevator Attendant
Monique Barscha ...
Chanteur d'opéra
Michel Cassagne ...
Piaget
Paule Muret ...
Paul's ex-wife
Catherine Freiburghaus ...
Farm Girl
Bernard Cazassus ...
1st Guy
Edit

Storyline

An examination of sexual relationships, in which three protagonists interact in different combinations.

Plot Summary | Plot Synopsis

Plot Keywords:

sex | female nudity | See All (2) »

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Language:

Release Date:

15 October 1980 (France)  »

Also Known As:

Every Man for Himself  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Connections

Edited into Histoire(s) du cinéma: Toutes les histoires (1988) See more »

Soundtracks

Suicidio!
from opera "La Gioconda"
Written by Amilcare Ponchielli
See more »

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User Reviews

Let's not go overboard...
14 July 2004 | by (London) – See all my reviews

Sauve Qui Peut loosely translates as "every man for himself" and as such I guess is Godard's acknowledgment that 1968's dream of a new society is gone and everyone has to get on with the daily grind. The three protagonists try and save themselves in different ways, Natalie Baye through getting back to nature, Huppert through selling herself and the director Paul Godard through his work. Everyone however is ground down by the social relations they must operate within.

As ever Godard leverages as much of his library as he can into the film, with huge chunks of Duras, Bukowski and sundry other writers cut & pasted in. And he plays the usual games with sound and image, juxtaposing them sometimes to beautiful effect, sometimes dissonant, quite often very funny.

A lot of people find Godard's later work somewhat depressing and it's true it mostly lacks the fizz of his early 60's stuff, however there are compensations; he seems to be putting more of his heart as well as his head into the work in later years. There is more than enough here to draw you in and keep you watching for several viewings.


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