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Letter to Jane: An Investigation About a Still (1972)

Letter to Jane (1972) is a postscript film to Tout va bien directed by Jean-Luc Godard and Jean-Pierre Gorin and made under the auspices of the Dziga Vertov Group. Narrated in a ... See full summary »

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Cast

Uncredited cast:
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Himself (archive footage) (uncredited)
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Himself (archive footage) (uncredited)
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Himself (archive footage) (uncredited)
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Herself (archive footage) (uncredited)
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Himself (archive footage) (uncredited)
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Herself (archive footage) (uncredited)
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Herself (archive footage) (uncredited)
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Narrator (voice) (uncredited)
Jean-Pierre Gorin ...
Narrator (voice) (uncredited)
Ernesto 'Che' Guevara ...
Himself (archive footage) (uncredited)
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Herself (archive footage) (uncredited)
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Himself (archive footage) (uncredited)
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Himself (archive footage) (uncredited)
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Himself (archive footage) (uncredited)
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Storyline

Letter to Jane (1972) is a postscript film to Tout va bien directed by Jean-Luc Godard and Jean-Pierre Gorin and made under the auspices of the Dziga Vertov Group. Narrated in a back-and-forth style by both Godard and Gorin, the film serves as a 52-minute cinematic essay that deconstructs a single news photograph of Jane Fonda in Vietnam. This was Godard and Gorin's final collaboration. Written by ubuweb film

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Release Date:

10 October 1972 (USA)  »

Also Known As:

Lettre à Jane  »

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Did You Know?

Trivia

The Jane Fonda image motif of this film was taken by Joseph Kraft and published on L'Express on August 1972. See more »

Quotes

Narrator: Film equals editing of "I see".
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Connections

References Klute (1971) See more »

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User Reviews

Klute, JLG style
25 March 2000 | by See all my reviews

Godard and J.P. Gorin's hourlong essay on the star of their previous movie--a reflection on a photograph of Jane Fonda among the North Vietnamese. If I recall correctly, Pauline Kael found this movie aestheticized and repugnant; I find it aestheticized and beautiful. Godard's Marxist period now does feel dilettantish, chosen (to quote John Gielgud in a bad spy movie) as "an aesthetic decision more than anything else." But his dilettanterie feels like a grasp through the veil of form--which Godard, in rending it, mastered utterly--toward some fundamental truth about being human. He ultimately found it in the transcendental-poetic, Wallace Stevensish cosmos of his difficult "late" films; but am I the only person who finds this "didactic," "agitprop" period of Godard among his most beautiful work?


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