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And I thought Godard didn't have a masterpiece. Once more after many years, Godard follows Lemmy Caution (remember Alphaville?), now the "world's last spy", after the collapse of communism in Germany and the breaking of the wall. If Alphaville was The Return of the Jedi, Germany 90 is the Revenge of the Sith. In the first film, Lemmy was a virus eluding the clutches of the supposedly omnipotent Alpha 60 whereas here, he is a lone warrior meandering unharmed in the bigger Alphaville and the sole survivor of a species that would soon be extinct. Evidently a requiem for what Godard considers the death of Germany, Germany 90 is perhaps the best contender for the objective "sublime".Tinged with a slight green throughout, the film juxtaposes images of sincere yearning by a man whose raison d'être has been questioned with fleeting sequences from the classics from the early expressionist German cinema. Godard classifies music, love and poetry as belonging to socialism alone and as languages not understood by the new world. Though elegiac in tone, the film is uncharacteristically (for Godard) hopeful in actuality. There is a definite promise of restoration in the form of Dora, the symbol of Germany in the film, and the assurance of "music after life". On a lighter note Lemmy comments "You have to admit, Marx did triumph. When an idea is born among masses, it becomes a material force. That's one way of looking at it." Lemmy Caution who represented all that is living and all that is human in Alphaville represents all that is lost and destroyed in Germany 90. The recurrent images of exile crucifixion and torture may be for the whole of socialism itself, whose pro-mass approach was nailed down by the elite bourgeoisie. Now as Lemmy walks alone through the remains of the now- non-extant world, we see what Godard is referring to by "solitude of history" – Lenin icon amidst Greek ruins, people moving towards the west in blue cars, machines resembling dragons almost swallowing Lemmy, history books being sold as souvenirs. The fugitive events that shook the world seem to have single-handedly made Godard's political period a thing of art-house circuits. It is more than solitude of history, it is solitude of Cinema
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