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Week-end [1967)

You will not learn much on Wikipedia.  In this case.  It is a common problem.  The length of an entry indicates its importance to the English-speaking world.  You will not get a true sense of what this film is about.  To the English-speaking world, this film is apparently insignificant.

And so we turn to images.  Language has betrayed us.  Our mother tongue.

There we immediately find a better representation.  The Hermès handbag.

Yet still the film remains elusive.

Some might say barbaric.  Others, a film about nothing.

They are both right…and wrong.

It is Mozart who proves them wrong.  I will not give you a Köchel number.  We can’t be experts about everything.

This is not academic writing.  I take my leisure seriously.

Taken out of context, it is the rage of a spurned Hitchcock.

It is the red stub of Blandine Jeanson (c’est-à-dire Emily Brontë).

Perhaps it is the groovy sounds of Jean-Claude Vannier?

As Paul Gégauff plays (?), the man with the shovel shuffles away.  He is our stable element…briefly.

You see the trouble.

Is it barbarism to cradle the contrasting beauty?  Is it nothing to show that everything is something?

Not easy being cheesy…

This is why it is better not to attempt…to explain.

It has been done.  What’s the point?

Each tenured prophet will find his/her own signs.

The important thing is to give the immediate impression.  Do not go for a snack.  Attack the film, but not to analyze.  Attack your own feelings and emotions…and wrest them from oblivion to perhaps live a life of their own.  This is what we do.

From the first words, we cannot start like the rest.

The great folly would be to make Godard into God.  The greater folly to ignore the breathtaking precedence.

In art as war, pity the one to go first…running from the secure positions.

And so we embrace the greatest uncertainty.

The varieties of human experience people…have not visited my corner for census.

Nor Jean-Luc’s…here.  We can celebrate the hulking awkwardness of a master who is perfectly describing chaos.

It is not sloppy.  It is calculated.  But it is a non-terminating number.  An infinite precision.

Balance on one finger and eat banana cream pie.

Perfectly upside-down.

It is not clean and crisp.  Not easily digestible.

We look longingly for personality, but none is found…

And then a film like Week-end…all personality.  Character.  Eccentricity.  Color.  Vigor.

Buried in the footnotes of civilization is a question about civilization itself.

This.

It explains why we never succeeded in life.  Had we done so, it would have been a fluke.

We were not meant to succeed.  Search your heart and then regard the world…

There is an intrinsic disharmony.

Language is a popularity contest…gang-raped by technology.

Thus the survival of mankind depends on code:  poetry.

Poetry does not discard words.  Poetry constantly expands…like entropy.

No one predicted the end.  Google will fail.

When we stop mirroring our mirror.  It is too boring to relate.

Salvation is buried deep.  Takes some digging.

We have forgotten how to be properly disgusted.

-PD

4 responses to “Week-end [1967)

  1. BeeHappee

    Many interesting lines. Thank you!

  2. Cool review. I love this film I saw it 5 years ago. a country side week end that turn into a traffic jam never rending nightmare. Love it great ending.

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