A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.
Marx didn't said that. Some other communist said that. Jesus said that.
This is the kind of film that Im sure Godard sat at his premier with a straight look on his face, but busting up laughing at everything inside his head. He got them good. He got all of us good.
Week End is batshit insanity. A revolutionists lucid dream. The subconscious of chaos. Schizo anarchy.
And my first Godard film.
I've probably made a big mistake by admitting that; and prior to watching this film I thought I had also made another big mistake by choosing Week End as the jumping off point. I couldn't have been more wrong. I loved it.
Now, you could spend hours dissecting…
Godard, you motherfucker.
After the past few Godard films I've watched left me either disappointed (Vivre sa Vie, Alphaville) or bored (2 or 3 Things I Know About Her, Histoire(s) du Cinema), I hesitantly sat down to watch Weekend expecting to further my conclusion that Godard was an overrated hack not worth the credit he's often given.
Well I was wrong.
Weekend is one of the greatest subversions of cinematic conventions I've seen since WR: Mysteries of the Organism. Godard takes his familiar tropes and flips them on their head while flipping off his audience maniacally in the process.
The savagery within Weekend fascinated me. Whether it was the continual shots of car crashes (most notably the brilliant…
For about an hour, Godard's greatest film, achieving a perfect balance between playful dialectics and formal bravado. Even the epigrams don't annoy me as much as usual, perhaps because they so annoy the protagonists (who just keep doggedly asking which way Oinville is, shouting louder and louder over the quotations). In the home stretch, however, watching it starts to resemble what I imagine it was like to see Andy Kaufman stand onstage reading The Great Gatsby aloud—admirable in principle, but tedious to actually endure for any length of time. There's a big difference between the astonishing traffic-jam sequence-shot, with its constant visual dynamism, and (to cite just one late example) an Algerian dude eating a sandwich for several minutes…
Jean-Luc Godard or Francios Truffaut?
Two gentleman linked for the rest of time. Two gentleman who both possess an inherent talent for filmmaking.
Godard has a much more elaborate filmography than Truffaut who really started to slow down just as Godard started to go into hyper-cynical-fuck the world-overdrive. It would be easy to point to Godard as the more important of the two. He's the boundary pusher, he's really the father of the French New Wave(although Jean Pierre Melville's Bob The Gambler, aka Bob LeFlambeur had more to do with it than a lot of people think). Truffaut is the sentimentalist, the guy concerned with story and likable characters.
I think their two different approaches may have spurned where they…
My Godard streak was bound to end at some point, as when you churn out film after film every year for a decade any good director would produce something of lesser quality every now and then. However, I did not expect it to be the case with Week end, given the almost universally positive reception among people I follow and such a brilliant, colourful poster/home release cover, and I definitely did not expect it to be quite as excruciating when it does happen. It very much tries to be an anti-film by subverting tropes and with characters outright stating that they are in a film. It's an incomprehensible mess, a beautifully filmed mess, but a mess nonetheless, and the anarchy…
Breakdown of social order in cars and on the roads: how extremely Ballardian. JGB must surely have seen this and over the few following years percolated Crash and Concrete Island. In one scene a man beats a car with a tree-branch; that's rather familiar too.
I agree with Mike D'Angelo's review that this is a film of two halves. The first just-over-an-hour, following a murderous bourgeois couple on a chaotic spree around rural roads in riotous summer heat, is grimly funny and so pacy it flies by, especially compared with of most of Godard's avant-garde political films of the period (Une femme mariée, 2 ou 3 choses, La Chinoise).
The rest of the film mixes political speeches with unpleasant scenes…
car wreck imagery, tumultuous lovers, the collapse of materialistic society and the bourgeois, reversion to cannibalism, etc. i enjoyed the very very beginning and the very end of this film best.
This is Godard's public denunciation of the socioeconomic climate. This is Godard's unbridled rage over the political aesthetic of the time. This is Godard blowing away film conventions with a shotgun and watching the ensuing guts fly like the flesh of an exploded watermelon. This is Godard's anarchistic approach to spray painting over the Exit sign. This is Godard masturbating while lighting a cigarette.
One and a half stars.
4 1/2 stars for the first half, 3 stars for the second half. What started out really great ended as such a disappointment for me.
I understand that this film is a condemnation of the bourgeoisie. The two main characters are comfortably upper-middle class with a propensity for self-obsession. Given a choice of anything in they want, their answers are predictably mundane: she a dress, he a muscle car.
What is not so easy to get is Godard's complete dislike for them as well as everyone else in the film, or what motivated him to make this in the first place. I'll admit I don't like them either, which is exactly why I don't feel like spending 100 minutes together. Yes, the 8-minute shot of the traffic jam was mesmerizing, the clear highpoint of the film. But it isn't worth watching just for that. Godard…
''My hermes handbag!''
Weekend is my second real exposure to Jean-Luc Godard and I loved this film. It's a darkly comedic, surrealist social commentary on class struggle and Godard executes incredibly well, with great levels of both tact and skill. There's a lot to take in with Weekend, and my first viewing left my mind running back and forth between all the little details, so my review probably isn't going to be too detailed. This is definitely a film that requires a couple of views to start to catch all the subtle nuances Godard wraps into it. It's absolutely jam-packed with references, both to old films that influenced Godard (such as The Battleship Potemkin and The Searchers) and historical events, mostly of various…
Manages to be as fun yet as dry as ever. It's sort of the perfect Godard film - playful and polemic, but some stretches work better than others. I will say that the scene with the black man and the Arabic man is actually brilliant to me, where everyone else seems to hate it?
The most annoying part was, surprisingly, the audience. Two dudes behind me literally laughed at every single happening. I mean, it's all meant to be absurd but not actually like worth a gut-laugh? Somehow, two dudes laughing at a man dropping a fish into a woman was way more bizarre than the scene itself.
Godard's classic about "man's horror immense horror of his fellows" is truly horrifying in its hilarity.