A list of all films associated with the Criterion Collection, including laserdiscs, DVDs, Blu-rays, Essential Arthouse, Eclipse Series, Hulu Plus,…
Made in U.S.A
Paula Nelson (Anna Karina), a female version of Humphrey Bogart's hard boiled detectives, goes to Atlantic City to meet her lover, Richard Politzer, at an unknown point in the future (maybe 1969). Once there, she learns that Richard is dead and decides to investigate his death. In her hotel room, she meets Typhus, whom she ends up knocking out. His corpse is later found in the apartment of David Goodis (Yves Afonso), a writer. Paula is arrested and interrogated. From then on, she encounters many gangsters.
In Kill Bill Vol. 1 (2003), every time that the name of The Bride was spoken out loud, the name would be interrupted by a beeping sound. The same thing happens here, but in various ways.
Yeah, like if that mattered...
Godard's dedication to Nicholas Ray and Samuel Fuller, the filmmakers who "taught him the importance of picture and sound", is a mixed, stylish and disappointing noir-comedy whose visual style resembles that of a rainbow cake, and leaves you like the mere thought of a rainbow cake: hungry.
Made in U.S.A. wants to be too many things at once. That is its main fault. What does it try to be?
- A commentary on Leftist politics.
- A criticism of…
Pop (art) quiz: which literary character has been played on film by Jason Statham, Lee Marvin - and Anna Karina? It's Parker, the criminal antihero created by Donald Westlake, whose novel The Jugger forms the basis for Jean-Luc Godard's final feature-length collaboration with his ex-wife, Made in USA. As the casting of Karina as the Parker figure suggests, the film is not exactly a faithful adaptation. But it stands in the centre of a journey Godard took in the 1960s, one which took him from being a romantic acolyte of American cinema to a ferocious opponent of American politics - and its expression in narrative cinema. As the title of the film suggests, the former "Hitchcocko-Hawksian" critic was starting to…
A Walt Disney movie with violence and Humphrey Bogart.
A full-fledged attack on Leftists and Rightists.
The Big Sleep by way of Looney Tunes and the French New Wave.
A love-letter to cinema.
Jean-Luc Godard's Made in U.S.A. claims to be all of the above categories, but fails in being any of them. It's too messy, incoherent, and hodge-podge even for the Master of Migraines. Not even Karina can save this mess with her presence.
I'm always excited to see a Godard movie within the first ten minutes, and I'm expecting it to be the greatest experience of my life. Then, for the next seventy minutes, I'm just sitting there, dreadfully irritated and bored, thinking to myself: "Oh yeah. That's…
As the result of a lawsuit, Made in U.S.A (1966) was never completely distributed or shown in America. For what it’s worth and to strain from getting into legal literature (pun!), Godard’s source material here is a novel written by Donald Westlake entitled The Jugger. Godard never received permission, ergo. The film’s title can be indicative of two things. First, as the feature is a film noir (albeit of a lighter more colorful note) it could be argued that Godard is paying his respects to the genre’s roots. Second, having been released around the middle of the Cold War, the film carries political conspiracy and insight that seems to posit America as the architects of war and political shadow games.…
Even the transcendent beauty of Anna Karina couldn't save this from being dreadfully average. Weakest Godard so far.
A Godard film in colour and 2.35 ratio is never going to be worthless, but this is like Pierrot le Fou without the fun. Striking colour compositions, dull presence by Karina and gets caught up in a clunky noir homage that takes itself a bit too seriously. Some interesting political babble, but overall one of the least remarkable of JLG's 60s run.
Godard halt, man kann ihn lieben oder hassen. Einige Filme (eigentlich so ziemlich nur aus seiner Frühphase bis Week End) mag ich recht gerne. Aber danach hatten seine Filme für mich eigentlich nur noch die Funktion linksintellektuelle Phrasen in eine kaum vorhandene Narrative zu packen. Das mag technisch total revolutionär sein und klügere Köpfe als ich mögen in "Made in U.S.A." eine verspielte Variante des Film Noir sehen. Ich bin aber dumm und sehe darin gepflegte Langeweile. Aber für 82 Minuten konnte ich mich wie ein Intellektueller fühlen.
This review may contain spoilers. I can handle the truth.
R.I.P Richard P*insert loud noise here*
"Now fiction overtakes reality.
Jean-Luc Godard is quickly becoming one of my favorite filmmakers. Made in U.S.A will be the most colorful mystery/ noir film you will ever see, it is an absurd and fantastic story about a woman trying to find out about the death or possible murder of her fiance. The complaint I've heard most about this is that "It is confusing and doesn't make any sense." but that is exactly how the characters feel about the situation they're in and what's happening to their government. In that way Godard does an amazing job of making us feel what the characters feel. Made in U.S.A is a film I will definitely be revisiting many times in the future to come.
Not necessarily essential Godard, but this is still a reminder that Godard had more ideas than anyone else in the '60s.
Scattered thoughts about this movie because this isn't the kind of movie that lends itself to any coherent method of thinking:
- Jean-Pierre Léaud is still the best.
- Raoul Coutard still rules, but I wish people would stop comparing his cinematography to Pop art—it has more to do with Nouveau Réalisme, which preceded Pop and happened in France concurrently.
- "I think advertising is a form of fascism."
- The plot of this movie makes no sense, and it's wonderful.
- Maybe this something about when the boundaries between the Left and the Right break down...
-...Or maybe it's about the boundaries between film and reality...
-...Or maybe it's about language and objects...
-...Or maybe it's about advertisements and genuine emotions...
-...Or maybe it's just Godard doing whatever he wants, for both the better and the worse.
I love Godard because even a movie as original as MADE IN U.S.A can be said to be made on spare fumes, to a certain degree. Formally it's much more concise than his previous film MASCULIN FEMININ but it's marked by the same sense of philosophical idleness, a kind of creative procrastination. The cocoon would burst with the masterpiece 2 OR 3 THINGS I KNOW ABOUT HER, which Godard amazingly enough shot simultaneously as MADE IN U.S.A. I can't help but think of it as his mistress. 2 OR 3 THINGS is the future for Godard here, while MADE IN U.S.A very much resembles the present, that same old pop-art and genre-spoof menu that's been on the wall for a…
there is a very clear association being constantly stated between reality and fiction here, which fits the idea of this being a political film. that conception of fiction's goal arriving at a practical dimension is basically what godard was aiming for here, which makes this a pressage of his later work with the dziga vertov group, where he would almost forget about narrative and intent only to indoctrinate (a revolutionary political party was formed in england after 'british sounds').
the compositions are extremely beautiful and the use of sound is very clever as expected (after all, it is a godard film), however, the dialogues don't always really fit, constantly making the film go to some redundant or uninteresting territorry (although…
You get the sense of Godard running out of ways to play with the formal qualities of film here, another saturated widescreen film about filmic characters doing filmic things (with a deliberately opaque spy film plot). That said it has a lot of pleasures to it, not least Karina in the lead, and some fun is had at the expense of capitalism and advertising.
As a tribute, if that is what this is, to American film noir it has an appropriately impenetrable plot. Just as well, as there were a number of scenes when I because conscious while watching them that I was having a hard time keeping my eyes on the subtitles, simply because I could not tear them away from Anna Karina's face. On first watch at least, this movie really is all her. Her dancing, glancing eyes. Her little half-smiles. Her ridiculously amazing dresses! That she is as unusually and unendingly watchable as she is is basically all this movie needs to merrily glide through its 90 minutes. It is an exceptional performance.
Beyond that, I don't know. There are certainly…
UPDATED: January 28, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…
Movies about/starring women. I originally started this list just as a reference for myself, but hopefully others will find it…