Criterion Spine #25
With the first few Jean-Luc Godard films I saw - Breathless, Band of Outsiders and Contempt - I was quite drawn to them. However when I watched Pierrot le Fou, all the good will that I had towards Godard started to fade away. It took a lot for me to get through that film and it makes me scared to rewatch those previous films, since I wonder if it might scar my original enjoyment of them. Now…
Es el tercer trabajo de Godard que veo y quedo bastante confundido.
Tras quince minutos perdí por completo el interés por los personajes; después de una hora ya tenía un horrible dolor de cabeza.
No lo sé. Tal vez otro día con más calma.
This is my second favorite Godard film after Breathless. The plot revolves around Detective Lemmy Caution (Eddie Constantine) a character was kind of like the French Columbo being placed in a futuristic setting.
It is interesting to note there are very few Sci-Fi tropes at least when it comes to the design of the world of Alphaville, everything looks modern (for the time) and there isn't anything that you can really consider sci-fi except for the sentient computer, and I…
Surprisingly funny and surprisingly poignant. Stylish and detached (as usual with Godard), but somehow maintains a sort of curiosity about it. Truly commits to its (low budget) world.
Supremely intellectual, perhaps to a fault, but, especially for a sci fi film, does not feel dated.
By the end I felt strangely moved. Eddy Constantine has a hell of a presence, and Anna Karina is framed such that you can feel Godard reaching out for her.
Look, it's Godard. It's a bit alienating, it's a bit strange, and it cares about action only in an abstract sense. And, as with Godard in this period, it's brilliant.
There is an amazing take at the beginning of Alphaville showing a car headlight blinking in close up. At first however, we do not know for sure that the image represents a headlight, it does not provide that specific information: rather, the screen is reduced to a surface that alternates between white and black, ultimately returning to the idea of the headlight by being one itself. Godard, via abstraction, seems to almost close the gap between the materiality of the…
Pues gran decepción, no he entendido nada y me ha aburrido soberanamente.
Pure Godard. Pure cinema.
The bleak cynicism of noir infused with the cold despair of an oppressive sci fi dystopia in Godard's or to the two genres. Appropriating a narratively and aesthetically disorienting and unsettling style which disassociates, eschewing narrative cohesion and clear plot progression in favor of a disjunction style that blends thematic fragments together with oblique symbols and signifiers of a futuristic system I which poetry, emotion, and passion are but forgotten wisps of past lives in a society driven by cold…
i have a love and hate relationship relationship with Godard..while i am captivated by Breathless,Vivre Se Vie and Band of Outsiders his other works have not impressed me that much.
This movie has a wooden faced protagonist, one of the most annoying background scores with constant interruptions...on the other hand it does have a pretty female lead and some impressive set designs...
Noir is my fav genre,so if it does not impress me even after 20 odd minutes there is…
....hold on, are Godard's movies supposed to be comedies??
Godard's dystopian noir sci-fi! Yes!
How does he make everything look so damn cool? I actually noticed how much Ridley Scott was influenced by the setting for his noir dystopian film.
I've only seen two of Godard's films, but I know I love this guy.
There seem to be two possibilities when I'm watching a Godard-film. Either I fall head over heels in love with it or this weird thing happens where I'm constantly shifting between being pulled in and pushed out.
Alphaville fell into the latter category. The imagery was stunning, the ideas provoking, the coolness undeniable, but now and again I just felt myself zoning out a little.
But then there was the poetry-scene, the car chase, the interrogation. And above all: that scene in the pool.