IMDb > First Name: Carmen (1983)
Prénom Carmen
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First Name: Carmen (1983) More at IMDbPro »Prénom Carmen (original title)

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Overview

User Rating:
6.6/10   2,079 votes »
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Director:
Writers:
Anne-Marie Miéville (scenario)
Anne-Marie Miéville (adaptation)
Contact:
View company contact information for First Name: Carmen on IMDbPro.
Release Date:
11 January 1984 (France) See more »
Genre:
Plot:
Carmen is a member of a terrorist gang who falls in love with a young police officer guarding a bank that she and her cohorts try to rob... See more » | Add synopsis »
Awards:
2 wins See more »
User Reviews:
My ninth Godard.. See more (16 total) »

Cast

  (in credits order) (complete, awaiting verification)
Maruschka Detmers ... Carmen X
Jacques Bonnaffé ... Joseph Bonnaffé
Myriem Roussel ... Claire
Christophe Odent ... Le chef
Pierre-Alain Chapuis
Bertrand Liebert ... Le garde du corps
Alain Bastien-Thiry ... Le valet du grand hôtel (as Alain Bastien)

Hippolyte Girardot ... Fred (as Hyppolite Girardot)
Odile Roire
Valérie Dréville ... La nourrice / Wet nurse
Christine Pignet
Jean-Michel Denis
Jacques Villeret ... L'homme qui mange des yaourts dans les toilettes de la station-service / Man eating jam
Jacques Prat ... Violon (as Quatuor Prat)
Laurent Dangalec ... Violon (as Quatuor Prat)
Bruno Pasquier ... Alto (as Quatuor Prat)
Michel Strauss ... Violoncelle (as Quatuor Prat)
rest of cast listed alphabetically:
Eloïse Beaune ... Eloïse (uncredited)
Sacha Briquet ... Cameo appearance (uncredited)

Jean-Luc Godard ... Oncle Jeannot (uncredited)
Jean-Pierre Mocky ... Le malade qui crie 'Y a-t-il un Français dans la salle?' (uncredited)

Directed by
Jean-Luc Godard 
 
Writing credits
Anne-Marie Miéville (scenario)

Anne-Marie Miéville (adaptation)

Produced by
Alain Sarde .... producer
 
Cinematography by
Raoul Coutard 
Jean-Bernard Menoud 
 
Film Editing by
Fabienne Alvarez-Giro  (as Fabienne Alvarez)
Suzanne Lang-Willar 
 
Costume Design by
Renée Renard 
 
Makeup Department
Laurence Azouvy .... makeup artist
Catherine Crassac .... hair stylist
 
Production Management
Bernard Bouix .... production manager
Eric Dussart .... production manager
 
Second Unit Director or Assistant Director
Richard Debuisne .... assistant director
 
Sound Department
François Musy .... sound
 
Camera and Electrical Department
Gérard Delayat .... key grip
Jean Garcenot .... assistant camera
 
Costume and Wardrobe Department
Hélène Robin .... wardrober
 
Editorial Department
Adeline Yoyotte .... assistant editor (as Adeline Yoyotte-Husson)
 
Other crew
Bruno Affret .... technician
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Prénom Carmen" - France (original title)
See more »
Runtime:
85 min
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Company:

Did You Know?

Trivia:
During the shoot-out at the Café de la Paix (the luxurious restaurant of the Grand Hotel Intercontinental), an undisturbed man is reading a large book, holding it so that the cover is shown prominently, several times: 'Nouveau Guide des Paradis Fiscaux', published in 1982, and written by a specialist on Swiss banking. Godard's tongue-in-cheek political comment (in a French-Swiss co-production) may escape some viewers, though.See more »
Quotes:
Joseph Bonnaffé:Loneliness forced me to be my own best friend.See more »
Movie Connections:
Version of Pride and Vengeance (1967)See more »
Soundtrack:
String Quartet n. 14 op. 131See more »

FAQ

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2 out of 2 people found the following review useful.
My ninth Godard.., 19 February 2011
Author: chaos-rampant from Greece

Prenom Carmen is possibly the most accessible Godard I've seen in my quest so far. What this means, is that at least partially the traditional devices of cinema, story, characters, a turn of events, are accepted or tolerated at some face value. Characters are allowed to behave like they're in a movie without having to look back at the camera to note its presence. He puts something on the table for others, for the casual watcher, as though coming out of a decade of isolation he yearns for some company, for a theater where he's not sitting alone with his thoughts on the screen.

This desire to be open does not mean, of course, that Godard forsakes his idiosynchracy, the habitual criticizing. He plays himself in the film, the half-mad middle aged crank director chomping on his cigar like a Sam Fuller, at some point he says that "Mao was the best chef, he fed all of China", but that's almost a bad joke or an afterthought (bitterly ironic considering the hundreds of thousands Mao starved to death in that effort to feed them), and I get the impression from Prenom Carmen of an attempt to ruminate on the transience of life and time, the beauty of nature. These moments of quiet beauty, the shots of waves crashing on a beach, an evening sky with an early moon, night trains passing each other on the rails, show the desire of the director to reflect at a kind of peace.

The commitment is not total though, because Godard still clings to outside conditions, he still feels the need to comment politically, but that's only when he himself comes on screen. What used to be an object of serious consideration though, is now relegated to a quirk, to a caricaturist's signature. As such, I read it as a sign of disillusionment, like Godard partly views himself as the crony pariah of cinema he portrays in the film, pushed to the side, babbling and ranting to himself.

The film about a film device is put to rather average use, it's an opportunity to set up a heist plot then pushed to the side again. What intrigues me a lot here is the overlapping timeline. As the bank heist erupts in gunshots, the film cuts to a string quartet rehearsing Mozart, they stop and one of the players asks the girl to play with more violence. Later we see the same girl peering up close to the tablature to see is there something to be deciphered in the notes, doing that she mutters to herself a question about the clouds and "will they part to reveal torrents of life".

A central tenet in the film is something about the innocent and the guilty and how they're on opposite corners, but the suggestion on injustice is only vague, a sketch without backbone. Other quotations are banal or obvious, but the difference for me from his New Wave days, is that irreverence is no longer an aspiration. It's a source of humor, but there's an effort to reach out for the poetic. Godard playing himself in the film says at some point that we need to close our eyes, not open them, but I believe he's beginning here to open himself up to something more than interpreting or criticizing, to the possibility of seeing the world. From my little investigation, I'm looking forward to see if he carried that over to films like Nouvelle Vague and Helas pour Moi.

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