How do you get that much emotion into a film review? In order to start saying things again, we must stop saying things as we have been saying them.
As much as I might like to find fault with this film, I cannot. Not really.
What for some directors would be their masterpiece is for Godard merely another step in the journey.
We get used to genius.
We expect perfection.
But let us descend from the cosmos to discuss the film at hand.
No…on second thought.
It is the prolongation of the opening titles. Not like James Bond. It is not a formulaic gun-barrel sequence.
It is merely (merely?) the opposite of diminution. Augmentation. A fugue.
There are too many words to remember.
And so Godard takes his sweet ass time telling us about the players.
Quite a cast.
If we come in blind (and cold), each addition piques our interest further.
Was it Alain Sarde who put together this troupe?
Perhaps he only wrote the checks?
No no…it is better to discuss how Godard used this extensive cast.
A cast of thousands. Mahler Symphony #8.
Wikipedia. Poor pathetic Wikipedia.
But maybe not.
If you are accustomed to mainstream fare, this picture may appear to have no plot.
It is the pacing. The cuts. Montage?
No. No diatribe.
On to the cast.
Jean-Pierre Léaud. How long had it been?
And Claude Brasseur! Christ!!
But we really start moving with Johnny Hallyday.
Once upon a time…
I (me)…I was in some city…I believe it was Quebec. Quebec City. Québec.
I had a room at the top of the world for the night. I believe it was the 22nd floor.
Enough to make you shit yourself…
And in the morning, there we were…a band apart. Bleary eyed, perhaps.
And out comes Monsieur Hallyday.
And the press clicked away. The hands went up to shield the bright lights.
And all I was impressed with was that he’d been in a Godard movie.
But let us not forget Nathalie Baye.
She is extraordinary here.
Brasseur is very strong.
Hallyday is surprisingly perfect.
All of these pop stars in films by the former nouvelle vague…
But let us really focus on the viscera.
I have written about her before in relation to Berlin: Live at St. Ann’s Warehouse.
Yes. She is indispensable here.
And Julie Delpy. With the licorice stick.
(that would be, clarinet)
Actresses age. They become harder to distinguish from their former selves.
A stage of facial age.
But really the star (STAR)…(STAR) is Aurelle Doazan.
Sometimes it is her legs. We study every shot in every Godard film.
The market for films. The clearing prices. For rare cinephilia. Paraphernalia. Saturnalia.
Alea iacta est.
Les jeux sont faits.
All bets are in. The die is cast.
The games are done.
Godard here makes an art of either A.) saying nothing at all, or B.) saying everything that can possibly be said.
We happen to know he improved.
This experiment. AGFA. Audio Cassettes……….Video Cassettes.
Making an entire movie in a hotel.
Just deliver the equipment.
Arriflex. Mitchell. Panavision.
Schubert. Liszt. Honegger.
The engine is rattling. Abandon ship.
Couldn’t agree more. A brilliant work in it’s own right, overshadowed by the rest of his work. Godard is always Godard.