"Something's not in orbit in the capital of this Galaxy" - Lemmy Caution
What does a French New Wave director do if all he has in his pockets is 3/4 of a pack of Gauloises, a Zippo, and an Instamatic camera? Jean-Luc Goddard took these things and made Alphaville.
I can imagine a future where this film seems less preposterous, but as no-one has ever lived in the past, no-one will ever live in the future. The present is the…
In the mystical city of Alphaville, one professional and deadly secret agent tries to find out the roots of this peculiar city and Alphaville truly manages to mind-boggle its audience with its intriguing concept and its disturbing yet fascinating nature.
Jean-Luc Godard with his innovative style did some sublime work just in setting up the city in the film, then his complex characters and how the film develops in an enticing manner is all presented superbly by Godard.…
My second Godard film after Breathless. Loved:
The car chase
That omnipresent deep voiced frenchie
Switching to film negative in the midst of a scene
Didn't like that my dvd crapped out with 5 minutes left in the film.
When it comes to Godard's 60's pieces, it's easy to love them even though many find them to be boring and messy, "trying-to-be-intellectual" films. "Alphaville" has an unforgettable beginning, it's like from the old Hollywood film and this style is used later on. Even though we see the connection to American films, Godard makes the world look the way he wants it to be. This is probably one of the most realistic futuristic visions of world in a way -…
Wish I was a little more awake to experience this (mentally checked out a few times), but Godard has never been funnier. Moves like a twisted kinda-noir chopped and screwed. Amazing shots, as usual for a Godard, only enhanced by a big-screen viewing.
While I've loved other Godard films, it takes the theater to truly appreciate just how different his films are (from the first moment, no rest, go go go with strobe lights and choppy credits... kinda violates our "peaceful" time in the cinema. Immediately off-guard. Amazing).
Godard transforms Paris into a futuristic place of capitalistic terror by representing it as a endless stream of ordered lights and cavernous modern interiors (the tracking shots through hallways and hotel lobbies become more menacing the longer they go on for example). While many of its thematic ideas are half-baked (to my eyes, at least after only one viewing) meditations on how language shapes our identity and economy, I was ultimately overwhelmed by the power of Godard's vision.
I can't quite put my finger on it, but Jean-Luc Godard's films always seem to leave me cold. I respect his technique and there are some really cool individual ideas, but as a whole, this movie just feels like a messy collection of skits which I never cared about. I hated the voice of the computer and I never actually got a sense of the world. The story never really cohered for me, and thus I was pretty bored throughout…
A strange and hypnotic film. I absolutely love the cinematography and camera work.
Um detetive numa Paris futurista precisa salvar uma mulher.
The lights here don't just establish atmosphere and secrets, they help establish Godard's technologically dependent, rationality-obsessed, and emotionally distant characters. A future world where glass elevators, spiral staircases, and flat line deliveries coexist with derelict apartments, gritty hallways, and Eddie Constantine's face. No big reveals here, but Anna Karina's final line carries enough weight to send tremors throughout the frame.
One of the most groundbreaking works of Godard, this film is virtually impossible to categorize, creating a rollicking mixture of pulp and the mechanical, a concoction that makes you laugh out loud and pays a sarcastic tribute to the entire space of spy/crime/sci-fi/thriller genres. We start our ride, as Lemmy Caution (a secret agent from America), reaches Alphaville (a futuristic city in the outer space), to investigate the disappearance of his fellow agent. He is under disguise as a journalist…
There is a Kafka-esque feel to things here. The protagonist regularly seems to have to kill people just as a matter of course. He drifts through various absurd scenarios with certain female figures openly announcing that they are spies. All through the movie there's this kind of all controlling super-computer Big Brother voice that not only controls the whole of Alphaville in which the film takes place, but actually narrates the film.
Perhaps my dislike of this movie comes down…