IMDb > Godard's Passion (1982)
Passion
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Godard's Passion (1982) More at IMDbPro »Passion (original title)

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Overview

User Rating:
6.5/10   1,381 votes »
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Contact:
View company contact information for Godard's Passion on IMDbPro.
Release Date:
26 May 1982 (France) See more »
Genre:
Plot:
On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making... See more » | Add synopsis »
Awards:
1 win & 4 nominations See more »
NewsDesk:
(18 articles)
New on Video – ‘Hail Mary’
 (From SoundOnSight. 9 January 2014, 9:05 PM, PST)

No Comment Two (The Invention of Facts)
 (From MUBI. 5 December 2013, 10:21 AM, PST)

Interview with Daniel Hoesl about Soldate Jeannette
 (From eyeforfilm.co.uk. 20 January 2013, 10:04 AM, PST)

User Reviews:
Godard's Influence See more (19 total) »

Cast

  (in credits order)
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Directed by
Jean-Luc Godard 
 
Writing credits
(in alphabetical order)
Jean-Claude Carrière  uncredited
Jean-Luc Godard 

Produced by
Armand Barbault .... producer
Catherine Lapoujade .... producer
Martine Marignac .... producer
Alain Sarde .... producer (uncredited: Poster credit only)
 
Cinematography by
Raoul Coutard 
 
Film Editing by
Jean-Luc Godard 
 
Production Design by
Jean Bauer 
Serge Marzolff 
 
Costume Design by
Christian Gasc 
Rosalie Varda 
 
Makeup Department
Patrick Archambault .... hair stylist
Bernard Minne .... makeup artist
 
Production Management
Armand Barbault .... production manager
Daniel Chevalier .... unit manager
Catherine Lapoujade .... production manager
Martine Marignac .... production manager
Ruth Waldburger .... unit manager
 
Second Unit Director or Assistant Director
Lee Collver .... assistant director
Gérard Ruey .... second assistant director
Alain Tasma .... first assistant director
Bertrand Theubet .... third assistant director
 
Art Department
Yvon Aubinel .... painter
 
Sound Department
Bernard Leroux .... sound mixer (as Bernard Le Roux)
François Musy .... sound
 
Stunts
Alain Couty .... stunts
 
Camera and Electrical Department
Jean-Claude Basselet .... electrician
André Clément .... camera operator
Jean Garcenot .... assistant camera
Anne-Marie Miéville .... still photographer
René Pequignot .... key grip (as René Albert Pequignot)
Gaston Verdonck .... grip
 
Costume and Wardrobe Department
Rose-Marie Melka .... wardrober
 
Other crew
Michelle Cretel .... administrator (as Michele Cretel)
Lydie Mahias .... script supervisor
Jean-Bernard Menoud .... video
Danielle Tholomé .... production secretary
Mickey Cottrell .... publicist (uncredited)
Daniel R. Suhart .... production assistant (uncredited)
 

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Additional Details

Also Known As:
"Passion" - France (original title)
See more »
Runtime:
88 min
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:
Italy:VM14 | Portugal:M/16 (Qualidade) | USA:R
Company:

Did You Know?

Trivia:
The first choice for cinematographer, through a recommendation from Francis Ford Coppola and Zoetrope films, was Vittorio Storaro. Godard replaced him right before shooting began with Raoul Coutard, whom he hadn't worked with since the mid 1960s.See more »
Quotes:
Jerzy:You can't save yourself by saving the world.See more »
Movie Connections:
Referenced in Scénario du film 'Passion' (1982)See more »
Soundtrack:
Frères humains, L'amour n'a pas d'âgeSee more »

FAQ

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11 out of 19 people found the following review useful.
Godard's Influence, 5 December 2003
Author: stevemac from Galway, Ireland

If one were to hold up a camera to life and to film for ninety minutes, the result would be, more than likely, a boring snapshot of the banal and mundane. These snapshots of life would have no narrative, would be disjointed and chaotic, for such is life. Godard's Passion struck me as just that, a snapshot of the banality of life, the disconnected, seemingly meaningless misadventures of ordinary people, captured in one moment of time. But of course, these are not ordinary people in ordinary circumstances, these are the creations of Godard's imagination, yet the presentation of the content of the film is without structure, narrative or any of the Hollywood conventions of 'good filmmaking'. I found the film compelling and intriguing; I wanted to know more about the people and the universe that they populated. The lack of narrative structure was not a negative factor in my enjoyment of the film, for the anarchic content was, of itself, enough to keep my mind from wandering away from it. Godard's reflexive jibes at cinema convention were acerbic and witty, carrying with them a tremendous knowledge of the mechanics of filmmaking. The story of Passion, what story there is, is subservient to the process of filmmaking and Godard's desire to subvert it. For me, that is what makes this film so entertaining.

The influence of Godard's work on other filmmakers is probably most profound in European cinema where the role of the Auteur is, if not quite nurtured, respected. It was a delightful surprise for me when, having seen Passion, I began to draw connections between Godard's storytelling and popular TV comedy. The First Series of the BBC comedy 'The Office', by Ricky Gervais and Stephen Merchant, leapt to mind as I mulled over Passion. The non-structure of Passion is very much evident in The Office, where the stories unfold as snapshots and moments in time, captured, and heavily influenced by the presence of the cameras. The Office is probably the most original piece of TV comedy since Monty Python's Flying Circus, yet I can see the influence of filmmakers like Godard in its presentation. Although there exists an A plot, B plot and guest plots, typical TV structure, in The Office, it is the presentation that makes all the difference. If handled in a more traditional fashion, it is highly unlikely that The Office would ever have been made, never mind popular. Even the origins of The Office pay homage to the anti-structural approach of filmmakers like Godard. Conceived and performed as an adlib piece on a BBC director's course by Gervais and Merchant, it shined with originality and a deep knowledge of and healthy disrespect for, convention; much like Godard really.

The success of The Office owes much to its originality and wit but also to the possibility that the audience is searching for a new experience in terms of storytelling both on television and film. The irony is that this type of storytelling has been with us since Godard and long before Godard. Perhaps the audience has finally caught up with the filmmakers.

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