| Le Mépris/Contempt (1963)
By Jean-Luc Godard. Before I even start, I must say that the first time I saw À Bout de Souffle (1960) I’ve been very disappointed. A cult movie that everyone puts in their lists regarded as the precursor of the French New Wave. Instead, I loved Truffaut’s Les 400 Coups (1959) and I think Jules et Jim (1961) is one of the best movies of all times. So I took a look at Le Mépris with a little “mépris” towards Godard’s creations. Plus, one of my friends told me that she disliked Pierrot le Fou (1965). At this moment, I though that my opinion was founded… But now I have to do my “mea culpa”. I felt in love with Le Mépris. Well Bardot, Lang, and Piccoli are giving great performances. Even if I read that the French New wave hated Michelangelo Antonioni’s films, I think that L’Avventura (1960) is a major reference to this movie. To me the links between the two films are evident when we take a close look at the recurrent music, the slow action, and the long sequences and more than anything else the landscapes. Godard always had the gift to put crossed references in his movies. The German director Fritz Lang is playing himself as one of the greatest fathers of Cinema. The American producer, when it comes to money and success in Films we have to speak American. Finally, Godard himself playing Lang’s assistant. I saw it as a metaphor as the old generation passes the “sound and light” to the new generation as the French New Wave. Well, the visual is stunning and not only because of Brigitte Bardot, but more precisely, the photography deserves a mention. The colors are true and they burn the screen. The credits are presented in a very interesting way that puts the viewer into the action of the film right from the beginning. The references to ancient Greeks and the mythology of the Odyssey placed the second level of this film very high. Inserted for the needs of the film that Lang will direct in the story, those references help the viewer to understand that even if these words were written thousands of years ago there are still near the spirit of Men. Moreover, these references can be interpreted differently from one to anther like Lang and Paul’s opposed interpretations of the relationship between Ulysses and Penelope. Then, I have to say that I am sorry for myself of having mistakenly disliked Godard’s Cinema. Now I understand why he is considered by many as an amazing director and a true inspiration for filmmakers. This is a good lesson for me to never judge a movie and/or a director before a viewing. One word to finish this review: Silencio! Review by Michael Parent |
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| Le Mépris/Contempt (Jean-Luc Godard, 1963) 9.1/10 |