Notre musique (2004)

User Rating:

6.8/10   

Director:

Jean-Luc Godard

Writer:

Jean-Luc Godard (writer)

Release Date:

19 May 2004 (France)

Genre:

Drama | History

Plot:

Divided into three "kingdoms" -- Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise) -- Notre Musique is an indictment of modern times.

Plot Keywords:

Purgatory | Hell | Sarajevo | Airplane | Religion

Awards:

1 win & 3 nominations

Cast

Sarah Adler	...	Judith Lerner
Nade Dieu	...	Olga Brodsky
Rony Kramer	...	Ramos Garcia
Simon Eine	...	Ambassador
Jean-Christophe Bouvet	...	C. Maillard
George Aguilar	...	Indian
Ferlyn Brass	...	Himself
Leticia Gutiérrez	...	Indian
Aline Schulmann	...	Spanish Translator
Jean-Luc Godard	...	Himself
Juan Goytisolo	...	Himself
Mahmoud Darwich	...	Himself
Jean-Paul Curnier	...	Himself
Pierre Bergounioux	...	Himself
Gilles Pecqueux	...	Himself

Also Known As:

Our Music (literal English title)

Runtime:

80 min | Argentina:80 min (Mar del Plata Film Festival)

Country:

France | Switzerland

Language:

French | Arabic | English | Hebrew | Serbo-Croatian | Spanish

Color:

Color

Aspect Ratio:

1.37 : 1

Sound Mix:

Dolby

Certification:

Switzerland:16 (canton of Zurich) | Singapore:PG | Portugal:M/16 | Finland:K-11 (video rating) | South Korea:12 | Brazil:12 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | UK:12A | Argentina:13 | Sweden:7

Filming Locations:

Bosnia-Herzegovina

Company:

Avventura Films

Quotes:

Olga Brodsky: If anyone understands me, then I wasn’t clear.

Movie Connections:

Edited into Une catastrophe (2008)

Our Music-2004: Poses unanswerable questions that fail to support the conclusion.

This is not entertainment...

I'd seen Contempt (1963) and Breathless (1960) many years ago and thoroughly enjoyed both. After 1964, I sort missed all that he directed until now, which appeared on late-night TV. And no wonder it was on so late at night...

It seems that, as many of us get older and maybe wiser, we like to expound on things philosophical. Bergman did it well, and without resorting to didactic circularity or confusion – and still managed to tell a good story. Woody Allen uses satire brilliantly for the same purpose.

However, Godard here uses the bare bones of a simple, quasi-documentary style story – and one that it episodically fractured and with much symbolism – to reflect upon 'what it all means': that is, life, death and the whole damn thing. Using the current Israeli problem with Palestine and vice-versa, he explores the three concepts of Hell, Purgatory and Heaven, using each to show what humanity has done, what it's doing and where it should be going, respectively.

The first, Hell, is obvious: with a montage of cuts from a multitude of news and film clips, Godard shows us the extent to which we prey upon each other even as we pray for each other. So, there are some real – all too real – scenes of the dead, the dying and the executed during the many wars that have been documented during the last hundred years or so. Nothing new here at all...

The second, Purgatory (a place for waiting), is – well – an exposition about waiting: waiting for a bus, for a train, for a plane, for a meeting to start, for a bridge to be rebuilt, for a nation to recover from war, for people to begin to understand each other. And this is all done within the thin framework of the story of Olga (Nade Dieu), the Jewish journalist from Tel Aviv who is attending a lecture by Godard (playing himself) in Sarajevo, and who is trying to understand why human problems cannot seem to be resolved, no matter what. Significantly, by choosing just Olga, Godard has certainly brought his philosophy to a very personal level, and one with which we can all identify, more or less.

All of that is rendered moot when Olga appears to commit an unspeakable act when she returns to Tel Aviv. Perhaps Godard should have told her that it's not the end that matters but the journey to achieve that end?

The third – the shortest vignette – is our final destination: as a prisoner of Nature, complete with - American! - border guards who let Olga through to join the happy throng. Essentially: strip off civilization and return to our basics to find out who we really are...

I think I'll stick with tackling prejudice, reducing global warming and trying to make a positive difference rather than taking Olga's choice.

It's well filmed, as you'd expect from Godard; the music is, at times, quite beautiful to hear; and the Sarajevo mise-en-scene is a stark reminder of our collective sins. An annoying aspect for me, however, is that not all dialog was translated and subtitled; perhaps it wasn't necessary?

So, while interesting visually and aurally, I'd recommend this only for those who like to reflect upon existential problems within philosophy.