#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let his wife Camille drive with Prokosch and he is late, she believes, he uses her as a sort of present for Prokosch to get get a better payment. So the relationship ends.
Plot: A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of “The Odyssey,” but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.
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|7.6/10 Votes: 29,051|
|7.2 Votes: 484 Popularity: 9.424|
A difficult film.
Paul (Picoli) is hired by vulgarian US producer Jerry Prokosh (Palance) to rewrite a screenplay for his adaptation, which Fritz Lang (himself) insists on shooting in a hyper-stylized, mythological fashion. Paul’s relationship with his trophy wife Camille disintegrates as she feels abandoned by him to Prokosh’s advances, and sees him subdue himself to these great men.
It is about film-making – of course! – it is about the plight of the artist, but where it succeeds most is in the carefully examined slow destruction of Camille and Paul’s marriage. Raoul Coutard’s cinemascope photography, filled with lush colors, only serves to highlight how little Paul is and how out of his depth he is. He and his wife hide it in different manners: Paul by trying to assert intellectual superiority over his wiser-than-she-appears wife, therefor earning her contempt. She hides by relying on her sensuality.
Godard typically references his love for film in a way that many will find pedantic, and the lush score isn’t always wisely used, overwhelming and sometimes even obtrusive. But thankfully, Godard’s message and cast survive the director’s pseudo-intellectual short-comings. Bardot is perfectly cast as the ignorant innocent who strives to appear and be smarter than she is (even sporting a brunette whig at some point, in what is really a sad moment of self-loathing), but fails. Camille never convinces when she speaks, but the pain in those eyes is intensely real. Picoli’s Paul is easier to sympathize with, as the “reasonable” whose every move to please anyone dooms him further. It is a cruel lesson and warning about relationships.
The film also serves a more sarcastic and amusing (and far more conscious) duel between Palance’s Prokosh, superbly vulgar and dramatic, and Lang, who becomes a wise and immensely charismatic figure that stands against compromise. It is sad that this was the German master’s only performance in front of the camera.
Le Mépris is slow, and if you get caught too much in Goddard’s referencing and hyper-stylization, it will bore you. But if you really follow these characters, you’re in for a unique, edifying and sometimes unnervingly uncomfortable ride.
Must be seen several times under different angles to be fully appreciated.
This is how people build relationships.
Herein be mild spoilers.
A wonderful film that should really be required curriculum for the shy and indecisive ones. It shows, in a nutshell, the difference between an attractive man and a polite man.
The movie could be deemed sexist, if only it was not so funny. Women in this movie, the two main leads and the one minor role, are shown as (1) object of visual please, (2) objects of sexual pleasure, (3) possessions and (4) furniture. The last one is my favourite and has a particular touch of the French New Wave to it. Now, the synopsis: Prokosch (Jack Palance) plays the role of the alpha-male, the wrong-doer but also the relentless pursuer of his goals. Everyone around him–co-workers and acquaintances alike–find themselves annoyed & disturbed by him, yet pulled in by his irresistible charisma and forced to comply with the rules that only he makes.
The young and beautiful Camille (Brigitte Bardot), the wife of a timid but polite Paul Javal (Michel Piccoli), finds herself in a dilemma: on the one hand she’s got her husband, on the other, Prokosch. She loves her husband and thinks Prokosch is a “jerk,” yet later on her attitude is reversed and it is to her husband that she feels contempt, and admiration for Prokosch. This is explained at length in the course of the movie, intercut at times with various quotations and nonsensual fables, yet Mr. Javal fails to grasp it. Poor Camille. She can only hate him. How did they manage to marry in the first place.
The ending is particularly suiting. Because it points out an important flaw in Prokosch’s character, therefore suggesting that he too is not a paragon of perfection. Although proponents of Prokosch’s attitude may disregard the accident as a coincidental and an untrue invention in the scriptwriter’s, it should be noted to them that recklessness, like any trait of character, positive and negative alike, should not be taken to such an extreme as to cause death. Relentlessness, as prudence, should also be used only in appropriate context and not for what Prokosch was using it. In Contempt no one is a winner, and Camille especially falls on the wrong side of the fence.
Original Language fr
Runtime 1 hr 43 min (103 min), 1 hr 37 min (97 min) (Finland), 1 hr 42 min (102 min) (USA), 1 hr 22 min (82 min) (re-edited) (cut) (Italy)
Rated Not Rated
Genre Drama, Romance
Director Jean-Luc Godard
Writer Alberto Moravia (novel)
Actors Brigitte Bardot, Michel Piccoli, Jack Palance, Giorgia Moll
Country France, Italy
Awards 1 win & 1 nomination.
Production Company Rome Paris Films, Compagnia Cinematografica Champion
Sound Mix Mono
Aspect Ratio 2.35 : 1
Camera Mitchell Camera
Laboratory Laboratoires GTC, Paris, France
Film Length 2,820 m (1964) (Finland)
Negative Format 35 mm
Cinematographic Process Franscope
Printed Film Format 35 mm