The onvermijdelijkste films of the three godard’s”.
I. THE ENFANT TERRIBLE
Le Mépris (1963)
Jean-Luc godard’s ” only really big bigbudgetfilm is, of course, a film about the making of a film. The legendary director Fritz Lang played himself, but all the attention, of the press and public, went to the bare buttocks of Brigitte Bardot: ‘Tu les trouves jolies, mes fesses?’ Opinion Saturday, 9/9 at the Canvas.
Pierrot le fou (1965)
Godard’s ” absolute masterpiece according to the experts. A gangster film that at the same time – c’est du Godard – a deconstruction of the genre. Jean-Paul Belmondo stores with Anna Karina on the run from a gang of paramilitaries in primary colors dominated metacinemaspektakel.
More than the night-time architecture of Paris had Godard not necessary to have a dark image of the future in this dystopian cross between science fiction that, like a film noir. The sixth Godard film in which the enchanting Anna Karina, when his wife and muse, received a role.
II. THE MAOÏST
La, The Restaurant Is Known (1967)
The first radical political film of the recent to marxism-leninism converted Godard and a first lead role for his new muse, Anne Wiazemsky. The plot, for those who a catch can, is about a group of students who want to change the world on the basis of Mao’s theories about terrorism.
Tout va bien (1972)
Red, white and blue: the, are, not entirely coincidentally, the colors of the French flag that the aesthetics of this essayfilm about the economy dominate. Or how Godard even in his especially by political messages colored films can’t make it to the medium as an art form to investigate.
Numéro deux (1975)
Just like all movies from the man’s filmography is Numéro deux in essence a reflection on the medium of film. But this time quite explicitly. The first part is a monologue in which the filmmaker himself explains why making films is actually not so very much different from working in a factory.
III. LE VIEUX CON
Prénom Carmen (1983)
A very free adaptation of bizet’s opera Carmen and the synthesis of godard’s ” nouvelle-vaguewerk and the more radical films that came after. The Dutch actress Maruschka Detmers plays a femme fatale who is a somewhat clumsy bankbewaker meesleurt in its inevitable fall.
Histoire(s) du cinéma (1988-1998)
An epic video in which Godard, in the form of an audiovisual essay an associative history of art outlines. The critic, the essayist, the meestermonteur and the director come to full fruition in what is perhaps the most godardiaanse Godard should be called.
Film Socialism (2010)
A symphony in three chapters, and a commentary on the French national identity. To large jolijt, and the great frustration, of many again a Godard film that is not in some rules, let summarize. Fifty years after its langspeelfilmdebuut divides the then-octogenarian director, still the opinions.
Also read: Why Jean-Luc Godard the most important director of his time