God, the horror of struggle
in Palestine Godard filmed
the sadness of conditions
with such beauty of technique
ingenuity of filmic form
And then came the editing. Back to France.
It was his film and her film. Anne-Marie Miéville.
Someone with whom he could discuss film.
No more actresses. A life partner.
And an agitator. Critique yourself.
Of course Marx offered useful tools. But there is more than Marx.
And the universe expanded. You must turn to the images.
Why is the actress not acting? And why is that beautiful?
Above and beyond (aside from) the fact that she is beautiful.
Just one. Anne-Marie points it out. The way things are done.
Early computer console script glowing green and blinking. Always blinking.
Someone has captured the wrong image. In the diffusion the stronger image has been diffused.
It was Hitler. Israel. Golda Meir in some sort of act of allegiance.
And Godard’s obsession with finding the double s in nature. kiSSinger, for instance.
The anger of the filmmaker. Who bombed the editing studio? Certainly not Arabs.
Certainly not. Find the true history. Only one filmmaker was truly brave and crazy. Godard.
Must be both to be this brave.
The wrong frame again. “It’s silly to die for an image.” But not silly to accept death for the survival of your community.
Of course. Of course. Bravery. Simple.
A sad, pathetic Palestinian village. And how did they come to be pinned in thusly?
But the true beauty is cautious. Scared. Yes. Tentatively walking the perimeter.
An image which will live a thousand years in the hearts of every serious soul who sees it.
Nothing shocks as much as the bloody face in Amman. More than the Holocaust. That the root cause could continue.
A transference of power abuse. The short step to fascism. Leaving out a few crucial details. Voila.
The man in Amman. Dead. Text flashing backwards. Mirrored. On top of front-facing font. Palimpsest.
Perhaps there was a bad translation somewhere. Muselmann in the camps. Not guardspeak.
We don’t know. I don’t.
You say for money, to take an unpopular stand. A pittance. Film stock. Plane tickets.
But they did finally recognize that they were borrowing a revolution. Because making one was too costly.
At home. France. Texas. Ici. And the endless possibilities of ailleurs. Elsewhere. And here. Here.
They only meant to send a statement. Probably. And the film sat for five years. 1970-1975.
But some images are too beautiful. Too powerful. Too important. Indelible.
Godard never forgot. Anything. The camps. Palestine. Ghettos. Prisons. 1789.
Only art speaks.
Study and respect. Change your world.
I have ordered the images from room service. And Google has only given me a popularity contest.
Click and vote. Perhaps.
For film to destroy your soul so beautifully and so hard.
Ah, now I can’t even talk like everyone else.
A hard-earned style which jettisoned pretense long ago.
Almost fashionably dead. To the doubters.
“Ah, now I can’t even talk like everyone else.” 🙂
Is the whole movie 42 minutes? Vimeo has it but I see just 42 mins.
Thank you 🙂 I’m not sure. It didn’t feel that brief, but Wikipedia says 53 minutes. It’s one of those films that, because of its density, feels longer than it is…perhaps. That said, it’s a really genius creation. Godard really was starting to find his mature style around this time. –Paul
Thank you for checking. I better not watch the Vimeo version for then I will paranoid for the rest of my life that the best 11 minutes were edited out.
Ha 🙂 sounds like my type of reasoning. I can certainly sympathize!
Favorite line: “Why is the actress not acting? And why is that beautiful?”
I love this film and, where I grew up, that was a lonely experience. Good to see someone give it it’s due.
Also, with Godard never forgetting, I couldn’t agree more. I hadn’t thought it until I read this, but with all the references in his films, it’s as if all of history exists at every moment. A beautiful philosophy of tragedy and potentiality.
Well, you always leave me thinking.
Thank you, my friend! It is always an honor to have your astute comments. –Paul
That’s very kind, but from my perspective its invigorating seeing anyone playing with form to the extent you do. -Always a pleasure.
That’s the real fun of writing for me: playing with form. Thank you for noticing.
I need to see this one. Nice review. I have nominated you for a Dragon Loyalty award. Keep up the good work. https://diversfilms.wordpress.com
Ok, thank you!!! I will check out the link! –Paul