In part one there is talk of a project on the subject of love, with the example of three couples, one young, one mature and the other elderly. At this point the author comes into contact ... See full summary »
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. She leads him on while dragging the two of them ... See full summary »
On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making. While Solidarity takes on the Polish government, a Polish film director, Jerzy, is ... See full summary »
Godard's documentation of late 1960's western counter-culture, examining the Black Panthers, referring to works by LeRoi Jones and Eldridge Cleaver. Other notable subjects are the role of ... See full summary »
Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract ... See full summary »
A symphony in three movements. Things such as a Mediterranean cruise, numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday... Our Europe.... See full summary »
How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to ... See full summary »
Collection of short films the summaries of which include; a foreign man moving to Italy, getting married and having a child; a four split scene short involving plot-less images of old ... See full summary »
Droll and repetitive like a lackluster history textbook
Since the first episode of Jean-Luc Godard's Histoire(s) du Cinéma, I can assure you, I think I figured out what he was trying to go for. Godard seems to be trying to illustrate the experimentation people conducted with film throughout its history, while, simultaneously, making a film that is pretty experimental as well. It's about as meta as one can be, and while it's a novel concept that has some merit, four parts in and I'm almost ready to wave the white flag in defeat to Godard's constant defiling of convention and traditionalism.
Deadly Beauty, the "b" part of chapter two in this ongoing expedition of cinema, offers about the same amount of information as the previous three chapters, which amounts to very little in the long-run. Because Godard goes for a heavily impressionistic style for a documentary that should be constantly informing, there's little information that sticks, and even the beautiful, often poetic images of films and art only linger in ones mind for a brief time before dissipating into empty thoughts.
Godard has some interesting musings in this part, however, from illustrating the idea that cinema has often been about death and murder and how we rarely see miracles like a flower blooming or a newborn baby being born. This idea that cinema has been more concerned with death than life would be hugely interesting if we saw some sort of compilation of clips alluding to that, rather than practically accepting it as anecdotal thought, but unfortunately, the idea is abandoned almost as soon as it is brought up.
On top of that, we once again witness some seriously beautiful images captured under seriously droll and monotonous narration from Godard, which is the same old vagueness in thought and idea we've gotten before. Reviewing this series has almost been as much of a task as watching it because of the fact that there is little to discuss that hasn't been brought up before. Godard has found the style, and, regardless of what I or others think, he's sticking to him. I applaud him as much as I want to never watch another film by him again.
Directed by: Jean-Luc Godard.
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