IMDb > For Ever Mozart (1996)

For Ever Mozart (1996) More at IMDbPro »

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Release Date:
4 July 1997 (USA) See more »
Genre:
Plot:
Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled... See more » | Add synopsis »
Plot Keywords:
Awards:
1 nomination See more »
User Reviews:
another essay-style trip, with maybe a tinge of story, down the Godard-hole See more (8 total) »

Cast

  (in credits order)
Madeleine Assas ... Camille
Ghalia Lacroix ... Rosette
Bérangère Allaux ... Actrice
Vicky Messica ... Metteur en scène

Frédéric Pierrot ... 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

Yasna Zivanovic
Nathalie Dorval ... Journariste
Dan Thorens ... Serb Corporal
Daniel Krellenstein
Jean Grécault
Béatrice Avoine
Marc Faure ... Ministre
Valerio Popesco
Euryale Winter
Gérard Baume
Norbert Krief
Cécile Caillaud
Nedeljko Grujic
Claire Laroche ... Amie premier assistant
Hervé Langlois ... Acteur
Alain Moussay ... Régisseur
Stéphanie Lagarde
Zbigniew Horoks (as Zbiniew Lacombe)
André Lacombe
Stanislas Gaczol
rest of cast listed alphabetically:
Karine Belly
Sarah Bensoussan ... La Femme Du Grand Ecrivain
Juliette Subira
Serge Musy ... Jeune homme au cinéma (uncredited)

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

Produced by
Alain Sarde .... producer
Ruth Waldburger .... executive producer
 
Cinematography by
Katell Djian 
Jean-Pierre Fedrizzi 
Christophe Pollock 
 
Film Editing by
Jean-Luc Godard (uncredited)
 
Production Design by
Ivan Niclass 
 
Costume Design by
Nadine Butin 
Marina Zuliani 
 
Second Unit Director or Assistant Director
Gilbert Guichardière .... first assistant director
 
Sound Department
Olivier Burgaud .... sound
François Musy .... sound
 
Music Department
Ketil Bjørnstad .... composer: stock music
Eric Cerantola .... musician: piano
Jon Christensen .... composer: stock music
David Darling .... composer: stock music
Ben Harper .... composer: stock music
Théophanis Kapsopoulos .... conductor
György Kurtág .... composer: stock music
Orchestre les jeunes de Fribourg .... musician
 
Other crew
Marie-Christine Delmotte .... production assistant
Hervé Duhamel .... production assistant
Véronique Fraget .... production assistant
Laurent Maillefer .... production assistant
Philippe Saal .... production assistant
 

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Additional Details

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Runtime:
84 min
Language:
Color:
Aspect Ratio:
1.66 : 1 See more »
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Certification:

Did You Know?

Movie Connections:
References She Wore a Yellow Ribbon (1949)See more »

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7 out of 12 people found the following review useful.
another essay-style trip, with maybe a tinge of story, down the Godard-hole, 22 September 2006
Author: MisterWhiplash from United States

Watching For Ever Mozart reminds me after taking a bit of a break from seeing Jean-Luc Godard's films, in this case really more-so the later ones (eg 1980s till now) how sumptuous and thoughtful his films can be while he also becomes, perhaps, too impressed with his references, philosophical and political tangents, and with characters being more like models and mouth-pieces than anything extremely palatable. This time, unlike in a couple others by the director from this period, there is at least an attempt at setting up something for the characters to do, as opposed to being aimless amid Godard's own ramblings. The younger characters in their 20s are planning to do some sort of play in Sarajevo, a place where war has turned the country into hell (Godard would later in Notre Musique explore Sarajevo). There's also another story aligned with this where an old director, much as in other Godard works, is casting for a film, but is of course having trouble, not the least of which once he discovers one of his relatives (I think a relative, or a friend, I don't know whom) might be in harm's way or danger in Sarajevo.

For Ever Mozart isn't the most pretentious arm-pit that one who plunges deep into the director's cannon will eventually find all too well, and there were individual scenes that were striking, even funny. I thought it was fairly genius the scene where the director just keeps saying 'no, next' to the actors all just from saying two lines of dialog in an audition. Many of his outdoor compositions- sans the all-too-expected shots of the ocean which are as trademark for Godard as the demented profile close-up in a Kubrick film- are evidence of his gifts with the camera. Some of his compositions become even sort of awful, in a good way in its depiction I mean, of the material where the tanks and gun-shots and soldiers become more prominent in the 2nd half of the film. In a way it's a return to the kind of un-hinged anti-war film that Godard made in his earlier days with the near-masterpiece Les Carabiniers. There's even a considerable amount of on-screen violence, some of it punctuated with shots like a dead foot. There's also one scene particular, with more than a few references to obscene sexual talk in a casino, that had me grinning even if it had absolutely nothing to do with the rest of the film.

But with For Ever Mozart, for all of the parts that do work or seem somehow accessible, there are at least a few more than necessary that don't. It's all subjective, of course, and I'm sure those who decide to seek it out of Godard's oeuvre, which might not be many seeing the number of comments and votes on this site (and just critical response in general), may respond to it more than me. But the more interesting bits, those that may even not seem to be part of the usual mechanics of the unconventionality of his films, are sidelined by the self-consciousness, the references to everything from Camus to Rossellini. It's like Godard isn't content enough here to go completely with characters for us to really give a damn about or remember once the film ends (with the possible exception of the film director character) even if there is something of a story going on as one inter-cuts with another and another. There's some good ideas, and some tasteful music, going all abound in For Ever Mozart, but the lack of cohesion becomes staggering.

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