#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: 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.
Smart Tags: #nouvelle_vague #french_new_wave #cinema #film_director #based_on_autobiography #reference_to_jean_luc_godard #year_1967 #year_1968 #actress #movie_theater #black_and_white_scene #typewriter #movie_screening #film_critic #husband_wife_relationship #paris_france #demonstration #protest #long_take #camera #broken_glasses
|6.6/10 Votes: 5,092|
|6.7 Votes: 255 Popularity: 9.488|
Very one-sided and petty biopic
This bizarre mélange of genres–documentary, comedy, tell-all from a former lover–views above all like a hit job. This is the second film I encountered this week which focuses on a disgruntled former girlfriend´s unhappiness that her extraordinary lover turned out not to be entirely normal. (The other one was Mad to be Normal, about Scottish psychiatrist R.D. Laing). I find this sort of depiction of Godard, on the one hand, and R. D. Laing, on the other, to be disagreeable in the extreme. I have no difficulty believing that men with big personalities and egos are difficult to have relationships with. But to make an entire film about what a cad ¨the cad¨ is alleged to be (by a former lover) strikes me as an unvarnished act of revenge. Nietzsche (and probably Godard, since he has always liked Nietzsche) would surely identify in this production a consummate expression of ¨ressentiment¨.
It seems to me that there is something rather puerile about falling in love with someone who is an artist (touted by many as a creative genius) and then expecting him to suddenly be the average-joe husband and dad (in the case of R.D. Laing). How could that possibly turn out to be the case? It´s a package deal. You get the extraordinarily wonderful with the extraordinarily difficult to live with. Needless to say, I do not think well of the female protagonist here, who seems to have wanted to profit from what she viewed as her victimhood. Ugh.
I also found confusing that the director tried to imitate Godard´s style–part of the time, but not all of the time–while also trashing him. A confusing and unsatisfying creation, in my opinion. The comedic elements pretty much disappeared by the end, when all that remains is the whiny girlfriend and what is depicted as Godard´s descent into Maoist Marxism.
Godard haters will love this thrashing.
Godard is not the sort of typical subject for a film. To say he lacks empathy, that he assaults the cosy preconceptions of much cinema and its audiences, is well-known.
At the time of this film he was undergoing a transition: he renounced his break-through films, he was intensely political in that celebrity French style which is often more pose and belles-lettres, than real accomplishment, a fact made clear in this film.
To present him in that anodyne fashion which Hollywood does, which is essential deceitful, as say “A Beautiful Mind” and many other movies, would be truly dishonest but fortunately this film does not do that. It is quite a good presentation of that period, both socially-politically and personally.
The film’s style naturally, almost logically, had to be á la Godard, in some way, and it works without being pastiche. At times it pushes a little far but mostly enough to give that sense of how Godard’s films looked at that time and before.
This is especially true of the interiors, a favorite setting and device of Godard’s in the 1960s, where he had couples discuss and debate as they moved about apartments. Here the famous sequence in “Contempt” when Piccoli and Bardot’s marriage ended is almost reprised as Godard and Wiazemsky’s relationship shatters. The inspirational touch in this film was to add Richard Strauss’s luscious but fatalistic song, Im Abendrot (At Sunset), over this sequence.
The performances are all done well. A little more lisp from Garrel’s Godard perhaps, but really, technically and the overall production, the whole movie looks just right.
Well worth the time and a reminder that once films, and cinema generally, actually mattered socially and politically.
Original Language fr
Runtime 1 hr 47 min (107 min)
Genre Biography, Comedy, Drama
Director Michel Hazanavicius
Writer Michel Hazanavicius, Anne Wiazemsky
Actors Louis Garrel, Stacy Martin, Bérénice Bejo
Country France, Myanmar
Awards 10 nominations
Production Company N/A
Sound Mix Dolby Digital (as Dolby 5.1)
Aspect Ratio 1.85 : 1
Camera Arricam LT, Schneider Lenses (with Angénieux Zooms)
Laboratory Le Labo Paris (digital intermediate), Technicolor [fr]
Film Length N/A
Negative Format 35 mm (Kodak Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Spherical (source format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), Digital (Digital Cinema Package DCP)