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 »
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 »
Commissioned by the heads of the 2000 Cannes Film Festival to make an opening-night short commemorating cinema as it enters its second full century, Godard instead offers up a 17-minute ... See full summary »
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 »
I found this second entry in Jean-Luc Godard's series to be a slight bit better than the previous but if you're expecting some sort of straight-forward look at the history of cinema then obviously you've never seen a Godard film in your life. It's funny but after watching this I went back and read my review to the first film because it had been quite a while since I had watched it. I easily could have copied and pasted it over to here because both films really struck me the same way but this one here did feature a few more items that made it more enjoyable. Once again Godard pretty much just takes various clips of movies, music and pieces of art and throws them together creating his own "art" that is pretty crazy but if you're a fan of cinema then you should at least be mildly entertained just by trying to spot the films you know. WAY DOWN EAST, THE KID, NOSFERATU, THE WIND, KING KONG, CAPTAIN BLOOD, THE MAGNIFICENT AMBERSONS, THE LADY FROM SHANGHAI, REBEL WITHOUT A CAUSE and CONTEMPT are just a few of the films that are shown here but I think my favorite bit deals with the PSYCHO score being used as the background music to several of the films but the best being behind the ending to DUEL IN THE SUN. This film will obviously drive many people mad, which appears to be Godard's goal in life when it comes to his cinema. I'm sure many will look at this film and say they understand the "meaning" of it but personally I don't buy into any of this. I'm sure anything can speak to anyone but I'm really not sure what Godard was trying to say with this and to be honest I have no interest in trying to figure it out. As it stands, this second entry at least kept me entertained enough to where I didn't want to reach for the remote.
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