6.6/10
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For Ever Mozart (1996)

Not Rated | | Comedy, Drama, War | 4 July 1997 (USA)
Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the ... See full summary »

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Cast

Cast overview, first billed only:
Madeleine Assas ...
Camille
Ghalia Lacroix ...
Rosette
Bérangère Allaux ...
Actrice
Vicky Messica ...
Metteur en scène
...
Jérôme
Harry Cleven ...
Grand écrivain
Michel Francini ...
Baron
Sabine Bail ...
Sabine - amie du Baron
Max André ...
Conseiller
Sylvie Herbert ...
Maman
Cécile Reigher ...
Assistante opérateur
Dominique Pozzetto ...
Stagiaire
Nathalie Dorval ...
Journariste
...
Serb Corporal
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Storyline

Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the attempts by a young group of idealists to stage a play in war-torn Sarajevo and an elderly director's efforts to complete his film. Written by Anonymous

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Genres:

Comedy | Drama | War

Certificate:

Not Rated | See all certifications »
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Details

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Language:

Release Date:

4 July 1997 (USA)  »

Also Known As:

Para Sempre Mozart  »

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Aspect Ratio:

1.66 : 1
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Connections

Edited into Histoire(s) du cinéma: Le contrôle de l'univers (1999) See more »

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User Reviews

Rape of Europa
17 September 1999 | by (los angeles) – See all my reviews

Godard's sombrest film, this meditation on the triumph of art over atrocity illustrates the Balkans' horrors as the slapdash Brechtian theatre of LES CARABINIERS. But both the world and Godard have changed in the last forty years, and the approach seems offensively academic. Even in films as recent as FIRST NAME: CARMEN and KING LEAR, Godard sprinkled atop his gnomic aphorisms and contrapuntal poetry moments of chaotic, dissonant humor. Here, blank-faced actors recite "Isn't the presence of evil worse than the absence of good?" as if off cue cards. In the pearly, mystical clarity of his images and his sounds--the latter appearing both more naturalistic and rhapsodic than ever--Godard remains a world-class master. But since his recent JLG PAR JLG, it would seem the last movement of his career is toward a crotchety cultural conservatism. His garret full of Goya, Musset and Marivaux seems colder, lonelier and less companionable than ever.


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