Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the ...
See full summary »
In a palace of Paris. Two detectives are investigating a two-year-old murder. Emile and Francoise Chenal are putting pressure on Jim Fox Warner, a boxing manager, who owes them a huge ... See full summary »
Composed entirely by literary quotations from many different sources and from several historical periods, Godard's film works as an allegory on film. The loose narrative tells about a ... See full summary »
Sir Ian McKellen gives a tour-de-force performance as Shakespeare's tragic monarch, in this special television adaptation of the Royal Shakespeare Company production of one of the playwright's most enduring and haunting works.
Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a strange professor named Jean Luc-Godard (sic), who repeatedly xeroxes his hand for no particular reason. He is followed by four humanoid goblins that keep tormenting Cordelia. There is also the gentleman whose girlfriend, Valerie, isn't always visible. Then the film is sent off to New York for Mr. Alien to edit.Written by
Scott Hutchins <firstname.lastname@example.org>
The original intended aspect ratio of the film is full-screen 4:3, as are all of Jean-Luc Godard's films by his own stated design. Many DVD releases of Godard's films, including this one, incorrectly matte the image to widescreen (1.85 in this film's case), losing a portion of the image. See more »
The Great Writer:
For words are one thing, and reality, sweet reality, is another thing, and between them is no thing.
See more »
No Plot. Four characters who don't interact. Nothing happens. Peter Sellars walks around and thinks. His recurring voice-over monologue obsessively examines a thought that is not very interesting to begin with. Not content merely to bore us, Goddard assaults us with shot after shot of crudely filmed, irrelevant imagery, accompanied by unintelligible overlapping speech. Perhaps there's something resembling an idea buried underneath all the nonsense. But I doubt it. And what does any of this have to do with 'King Lear'? To be bored by a film is bad enough, but this film is aggressively, offensively, violently boring.
16 of 41 people found this review helpful.
Was this review helpful to you?
| Report this