If I had to name my favorite Godard film, it would be a toss-up between A WOMAN IS A WOMAN and ALPHAVILLE, although I need to revisit BAND OF OUTSIDERS at some point. Beyond those, the only other one I own is WEEKEND because I like the symmetry of having that and the Criterion release of Andrew Haigh’s side by side on my shelf.
PIERROT has long been my favorite Godard, although it's neck and neck with BREATHLESS. Karina's face alone (especially during the long boat ride) is worth every rewatch. Some of the film's themes would recur in the later FIRST NAME: CARMEN, which may be my favorite of Godard's overlooked '80s films.
I'm not sure why you (twice) call this his last collaboration with Karina, however, since they went on to make MADE IN USA the following year. Did you mean the last while they were still married? Either way, even with all its great colors and Karina's beauty, that one's a slog!
Sorry. That was a bit sloppy on our part. (Though I have not seen MADE IN USA.)
As I said in the conversation, for as much as the film is about a relationship that's doomed to fail and may in fact be rooted in Godard and Karina's own failing relationship, the camera certainly regards her with affection.
Oops. I have seen MADE IN USA (which I liked but found kind of baffling). I made the correction, but this comment will serve as a reminder of our goof.
Thanks. I hate being a stickler, but the editor (and Godard/Karina fan) in me couldn't let that one go. ;-) If you're interested, the chapters on their relationship in Richard Brody's EVERYTHING IS CINEMA are extremely enlightening. And sad.
Man, the thing about Godard is that he exposes my film philistinism (making me a film-istine?). Pierrot Le Fou is the most recent of his that I've watched, and other than possibly Alphaville, everything I've watched since Breathless (my first of his, and one I loved unreservedly) has been chasing that high and been left totally unfulfilled. This is, mind you, exclusive to his 60's output (though I had a a serious thought to seeing Goodbye to Language, and still do).
You might dig Band of Outsiders or Masculin Feminin. But...uh... I don't know if you'll want to seek out Histoire(s) du Cinema when we tackle that one later this year.
I don't think this applies to your situation, but I do like this quote from Ebert's earlier, more upbeat review: "One of Godard's films, seen by itself, can be a frustrating and puzzling experience. But when you begin to get into his universe, when you've seen a lot of Godard, you find yourself liking him more and more. One day something clicks, and Godard comes together. And then, perhaps, you decide that if he is not the greatest living director he is certainly the most audacious, the most experimental, the one who understands best how movies work."
That's a great Ebert line, more evidence of what I've missed since his passing - that ability to diagram emotional reasoning (at least from a reaction POV) that speaks universally.
...That said, I'll say to that last subordinate clause that I will fully agree with 2/3 of those things. As to whether he's "...one who understands best how movies work," I might dispute that, but not from a formal cinematic technique perspective (he's got that in spades). Rather, I might respond that one who understands best how movies work is also to make them, I dunno, a little more entertaining to watch? (sorry, couldn't help but drop a hot take there)
I have seen Band of Outsiders, matter of fact it was the next most recent before Pierrot... and it was 'aight. Not bad, I'll admit. It helps when there is *some* semblance of a plot.
If I had to name my favorite Godard film, it would be a toss-up between A WOMAN IS A WOMAN and ALPHAVILLE, although I need to revisit BAND OF OUTSIDERS at some point. Beyond those, the only other one I own is WEEKEND because I like the symmetry of having that and the Criterion release of Andrew Haigh’s side by side on my shelf.
PIERROT has long been my favorite Godard, although it's neck and neck with BREATHLESS. Karina's face alone (especially during the long boat ride) is worth every rewatch. Some of the film's themes would recur in the later FIRST NAME: CARMEN, which may be my favorite of Godard's overlooked '80s films.
I'm not sure why you (twice) call this his last collaboration with Karina, however, since they went on to make MADE IN USA the following year. Did you mean the last while they were still married? Either way, even with all its great colors and Karina's beauty, that one's a slog!
Sorry. That was a bit sloppy on our part. (Though I have not seen MADE IN USA.)
As I said in the conversation, for as much as the film is about a relationship that's doomed to fail and may in fact be rooted in Godard and Karina's own failing relationship, the camera certainly regards her with affection.
Oops. I have seen MADE IN USA (which I liked but found kind of baffling). I made the correction, but this comment will serve as a reminder of our goof.
Thanks. I hate being a stickler, but the editor (and Godard/Karina fan) in me couldn't let that one go. ;-) If you're interested, the chapters on their relationship in Richard Brody's EVERYTHING IS CINEMA are extremely enlightening. And sad.
Need to read that.
This one is my favorite Godard--WEEKEND almost became that for me were it not for the 10 minute scene of Maoist speeches
Man, the thing about Godard is that he exposes my film philistinism (making me a film-istine?). Pierrot Le Fou is the most recent of his that I've watched, and other than possibly Alphaville, everything I've watched since Breathless (my first of his, and one I loved unreservedly) has been chasing that high and been left totally unfulfilled. This is, mind you, exclusive to his 60's output (though I had a a serious thought to seeing Goodbye to Language, and still do).
I guess his stuff is just not for me.
You might dig Band of Outsiders or Masculin Feminin. But...uh... I don't know if you'll want to seek out Histoire(s) du Cinema when we tackle that one later this year.
I don't think this applies to your situation, but I do like this quote from Ebert's earlier, more upbeat review: "One of Godard's films, seen by itself, can be a frustrating and puzzling experience. But when you begin to get into his universe, when you've seen a lot of Godard, you find yourself liking him more and more. One day something clicks, and Godard comes together. And then, perhaps, you decide that if he is not the greatest living director he is certainly the most audacious, the most experimental, the one who understands best how movies work."
That's a great Ebert line, more evidence of what I've missed since his passing - that ability to diagram emotional reasoning (at least from a reaction POV) that speaks universally.
...That said, I'll say to that last subordinate clause that I will fully agree with 2/3 of those things. As to whether he's "...one who understands best how movies work," I might dispute that, but not from a formal cinematic technique perspective (he's got that in spades). Rather, I might respond that one who understands best how movies work is also to make them, I dunno, a little more entertaining to watch? (sorry, couldn't help but drop a hot take there)
I have seen Band of Outsiders, matter of fact it was the next most recent before Pierrot... and it was 'aight. Not bad, I'll admit. It helps when there is *some* semblance of a plot.