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Godard Mon Amour (2017)

Le Redoutable (original title)
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1:56 | Trailer
In 1967, during the making of "La Chinoise," film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.

Writers:

Michel Hazanavicius (script by), Anne Wiazemsky (adapted from the novel "Un an après" by)
9 nominations. See more awards »

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Cast

Cast overview, first billed only:
Louis Garrel ... Jean-Luc Godard
Stacy Martin ... Anne Wiazemsky
Bérénice Bejo ... Michèle Rosier
Micha Lescot ... Bamban
Grégory Gadebois ... Michel Cournot
Félix Kysyl Félix Kysyl ... Jean-Pierre Gorin
Arthur Orcier Arthur Orcier ... Jean-Henri Roger dit Jean-Jock
Marc Fraize Marc Fraize ... Emile
Romain Goupil Romain Goupil ... Le flic cinéphile
Jean-Pierre Mocky Jean-Pierre Mocky ... Le client du restaurant
Guido Caprino ... Bernardo Bertolucci
Emmanuele Aita Emmanuele Aita ... Marco Ferreri
Matteo Martari Matteo Martari ... Marco Margine
Stéphane Varupenne Stéphane Varupenne ... Le publicitaire Eric de la Meignière
Philippe Girard Philippe Girard ... Jean Vilar
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Storyline

Paris, 1967. Jean-Luc Godard, the maker of "A bout de souffle", "Le Mépris" and "Pierrot le fou", idolized by critics and intellectuals, is shifting from revolutionizing cinema to becoming a revolutionary tout court. Isn't he shooting "La Chinoise", more a political tract in favor of Maoism than an actual movie? His female star is Anne Wiazemsky, writer François Mauriac's granddaughter, sixteen years his junior. Anne and Jean-Luc have been dating since 1966 and they marry this very year. She admires Jean-Luc's originality, intelligence, wit and boldness while he loves Anne's freshness and - admiration of him. But May 1968 puts their marriage to the test. Godard, who is more and more involved in the revolution, indeed becomes less and less available to his young wife, which does not prevent him from acting jealous. It also looks as if the genius is losing his sense of humor. Written by Guy Bellinger

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Motion Picture Rating (MPAA)

Rated R for graphic nudity, sexuality, and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site [Japan]

Country:

France | Myanmar

Language:

French | English | Italian

Release Date:

13 September 2017 (France) See more »

Also Known As:

Godard Mon Amour See more »

Filming Locations:

Paris, France See more »

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Box Office

Budget:

€11,110,000 (estimated)

Opening Weekend USA:

$10,994, 22 April 2018, Limited Release

Gross USA:

$82,264, 28 May 2018
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Digital (as Dolby 5.1)

Color:

Color

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

French visa # 144990. See more »

Quotes

Jean-Luc Godard: Politics is like shoes. There's a left and a right, but eventually you will want to go barefoot.
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Connections

References Contempt (1963) See more »

Soundtracks

Azzurro
Lyrics by Paolo Conte and Vito Pallavicini
Music by Paolo Conte and Michele Virano
(1968)
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User Reviews

 
Pierrot le Mépris
20 May 2018 | by richardchattenSee all my reviews

Non-admirers of Jean-Luc Godard probably won't be bothering to watch this film in the first place, but I'm sure they'd be reasonably satisfied with the hatchet job that author Anne Wiazemsky and director Michel Hazanavicius have done on Godard, since even most of his admirers as a filmmaker and political guru probably already had a pretty bleak estimation of him as a human being.

Being based on a 2015 memoir by Godard's long estranged ex-wife, the late Anne Wiazemsky (1947-2017), the film is inevitably going to be as much about her as him, and its depiction of him even more inevitably from her jaundiced viewpoint. This also unfortunately means that the film concentrates on their time together between their marriage in 1967 and their separation in 1970, when both his gifts as a filmmaker and passion for cinema had recently curdled; although there was still enough of the film nerd in him to claim with a straight face (in probably the film's best scene) the legacy of Jerry Lewis more worthwhile than that of Jean Renoir. (I wonder how Godard took the news - if it ever reached him - of Lewis's later enthusiasm for Reagan and Trump.)

During his previous marriage to Anna Karina he was probably just as difficult a husband but hadn't become the politically doctrinaire bore and boor that Wiazemsky had to deal with (she portrays him as self-centred and neglectful rather than abusive). Godard's admirers at the time and since have tended to excuse the calamitous decline in the quality of his films after 1965 as politically justified, since they saw the unwatchable screeds he was now churning out as the legitimate expression of his commitment to "make films politically" by no longer making them entertaining rather than because he'd simply lost it.

Louis Garrel gives an energetic performance in the lead, but is too tall and good looking (he actually looks more like Jean-Pierre Léaud), fails to capture the nasal voice familiar from Godard's own films, his perennial 5 o'clock shadow has become designer stubble and then a full beard by the time the film ends; and he just isn't as weird and inscrutable as the man himself remains to this day.

Hazanavicius throughout lovingly recreates the look of Godard's early 60's films when he was in his prime, but treats him more as a comical figure like Woody Allen, complete with the running joke lifted from 'Take the Money and Run' in which his glasses keep getting broken and the admirer who like those in 'Stardust Memories' wishes he'd make another "funny film". (Not that Godard's pre-1968 films were all light-hearted bon-bons by any stretch of the imagination. 'Le Petit Soldat' and 'Les Carabiniers', anyone?)


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