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The Goddess of 1967 (2000)

7.1
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Reviews: 29 user | 23 critic

"Goddess" stands for French "Déesse", the nickname of Citroën DS, the name of a famous car designed in the fifties. A young and well-situated Japanese man is dreaming of such a car, and one... See full summary »

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Title: The Goddess of 1967 (2000)

The Goddess of 1967 (2000) on IMDb 7.1/10

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Cast

Cast overview, first billed only:
...
Rikiya Kurokawa ...
...
Grandpa
Elise McCredie ...
Marie
Tim Richards ...
Drummer Boy
Bree Beadman ...
B.G. aged 9
Satya Gumbert ...
Marie aged 9
Tina Bursill ...
Esther
Dominic Condon ...
Mr. Hughes
Tim McGarry ...
Detective
...
Barman
Harry Lawrence ...
Old Man in Bar
Masao Ishiguro ...
Noodle Man
Stephanie Daniel ...
Radio Announcer (voice)
Jean-Pierre Mignon ...
D.S. Sergeant (voice)
Edit

Storyline

"Goddess" stands for French "Déesse", the nickname of Citroën DS, the name of a famous car designed in the fifties. A young and well-situated Japanese man is dreaming of such a car, and one fine day he finds an offering on the net. He calls the seller (a man living in Australia), they agree upon the price and so he travels to Australia in order to buy the car. But when he reaches his destination, there's chaos all around: The seller as well as his wife lay dead in their house and a 17 year old girl lets him in and offers him something to eat. He walks out with horror but then comes back because he forgot to ask about the car... The girl lets him see the car, and then they start a 5 day trip through the outback, and, at the same time, a trip back in time into the early youth of the girl and into her family's chronicle. Written by Claus Horn

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Certificate:

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Details

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Language:

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Release Date:

25 April 2001 (Australia)  »

Also Known As:

Der Japaner und die Göttin  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Connections

References The Samurai (1967) See more »

Soundtracks

Living in a Child's Dream
Written by Michael Bower
Performed by The Masters Apprentices
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User Reviews

 
Neither Nothing or everything.
4 August 2002 | by (Keerbergen, Belgium) – See all my reviews

Not many people have seen this film. Those who have seen it, will either hate it or love it. I loved it.

The movie starts with a computer screen that says: I want to buy GOD.

The Prologue doesn't have any human voices. The world the director shows of Japan is obvious. A world of Japanese high-tech. Everywhere there are machines, nobody lives without it. Even as they communicate. As well as the running is been done on a machine.

Clara Law has a very interesting and personal view which shows us her own interesting personality that she is. Because of that movie I can't let go of that.

She succeeds in showing us her own vision of The Goddess of 1967 because she stays consequent by creating a contemporary and postmodern feeling. A feeling she got from her own environment. Born in Macau, studied English literature in Hong Kong. Afterwards Film in London and lives with her husband in Australia.

What Clara Law tries to explain in her movie is sort of autobiographic, it is obvious that she reflects this on the two protagonists. Both characters living in two completely different countries and cultures. Clara Law doesn't work this movie out in a shallow kind of way. She does it within a own creative way and lets the characters explore each other

One character JM appears to be having everything he wants. Financial that is. He is so wealthy he believes he can buy god. Therefore he wants to buy this is beautifully car called the CITROEN DS from 1967. The GODdess. For JM this means freedom. Free of all the big luxury, being unhooked of all the machines.

The other character is BG. A girl who has been blind for all her life. Because of a suddenly death of the dealer of the car, BG will lead JM the way to the real owner of the car. Or so she says.

Once they are on the road with the car, you can follow the mental way of both characters. On the road the flashbacks follow and the viewer learns the pain and history of the characters and why the are what they are.

Neither silent or moving. Neither perceivable or imperceptible Neither nothing or everything. A state of mystery, paradox, ambiguity That is what I tried to capture in this film. CLARA LAW

Thank you Clara Law.....


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