A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let his wife Camille drive with Prokosch and he is late, she believes, he uses her as a sort of present for Prokosch to get get a better payment. So the relationship ends.Written by
Stephan Eichenberg <email@example.com>
It is possible that all "mistakes" in the film that involve visible equipment are intentional, or at least intentionally uncorrected: the film, after all, is about the artificiality of making a film, and the initial credit sequence shows filmmakers shooting the film itself. See more »
[Reading from a book on "Lang"]
"Man can rebel against things that are bad, false. We must rebel when we're trapped by circumstances, conventions..."
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The opening cast credits are read, without titles See more »
Wrong. This film is a masterpiece, and you're being ignorant if you think there was one frame in this film that Godard didn't intend to be there. The dubbing - supposed to be there. The "garrish" color - supposed to be there. This is what you might call "technique" or "style." This is a film about film. It's not just about the personalities, but the tools of the trade and how they are used.
"Garrish" technicolor falls under this, so does poorly executed ADR. These are things that remind us we're watching a film, and Godard made sure to remind us of his presence at all times (ever seen the 10 minute tracking shot in Weekend?). Stop. Look. Listen. This film is a masterpiece and giving it a 3 out of ten is not just an insult to this fine piece of material, but also to every poor sap who almost saw this movie, but after reading your review, decided not to.
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