Film socialisme (2010) Reviews

• Surface glitter hides an empty interior

  Ethan_Ford2010-10-09

  It was eagerly awaited for years,the trailer which was the whole film in fast motion looked ravishing, and it seemed as if in this,perhaps his last film,Godard would deliver his final testament,a summation of all the themes which have run through his work for the last fifty years.From the beginning it looks absolutely stunning.In its high def cinematography the colours are gorgeous,the Mediterranean setting recalling that of Le Mépris ,but whereas the latter film was a profound meditation on European culture and civilisation,here the characters spout banal platitudes about politics or philosophy as the ship sails along past various cities; in the Spanish section there is a scene of a bullfight,in the Italian section a clip from a Rossellini film,it's that predictable. In the final section the film switches to one of Godard's favourite subjects,the daily routine of a family with young children who run a petrol station and have for no apparent reason a pet llama.Here finally the film shows some kind of rapport with its characters but it is already too late.Yet despite its faults it still exhibits all the hallmarks of Godard's style,the brilliance of his framing and editing,the crucial way sound plays against image,but the feeling persists that perhaps he has no longer anything to say.

  More

• Godard is laughing at you.

  werewolfgal132011-03-22

  Let me first state that I am on the whole a fan of Godard's work and was excited to see this movie, that having been said this is a remarkable film solely for the reason that this was the FIRST movie I ever walked out of. Ever. From the minimal subtitles that only proved to confuse and annoy, to the windy microphones so even a French speaker couldn't understand what was being said. There was nothing in the film to keep me watching save the director's name. Fifteen minutes seemed an hour and by the half hour mark completely at wit's end I left. Not having seen the entire film I can't really rate it, but all I could think was that Godard was laughing at everyone still in the theatre; laughing at everyone that cites this pretentious unbearably dull film as a masterpiece, and proving that a well respected artist can get away with anything and people will still call trash art.

  More

• A treat for fans of Godard

  Chris_Docker2011-08-03

  I get quite excited at the prospect of a new Godard. Not that I see his work as any ultimate example. It's not. But somehow it is in a different milieu to most films you can watch. Like poetry, it's not about the words or images, but the joy that comes from exploring, from original thought. Sound and vision used not to entertain but to seek deeper levels than can be expressed in prose or 'narrative cinema as we know it.' Yet the slew of bad reviews prepared me for the worst. Perhaps age had caught up with the grand master of Nouvelle Vague? Or perhaps Godard was not beyond playing a joke on his audience, just to see what they make of it? Omens weren't great. A small auditorium and no more than a dozen people there as I walk in. Some obviously by mistake. As they walk out halfway through. But I am already entranced. Wondering if I will be able to see it again in the final screening tomorrow. Looking forward to the DVD so I can stop-start for quotes that send my head spinning like I'm back in my alma mater's philosophy class. A dizzying array of original and masterly techniques. And, like poetry, enough fluidity to offer meanings in ways that suit the individual viewer (persons who walked out excepted). A warning: there is a 'looking for answers' but no real story. On a difficulty level, this film is much harder than Breathless, Le Mepris, or Vivre Sa Vie. It is warmer and more captivating than Weekend or Made in USA, but only just. Neither does it have the clear expository style of his last most recent well-known movie, Notre Musique. It has three main sections: 1 - scenes on a Mediterranean cruise ship ('Things'), 2 - a European family ('Our Europe'), and 3 - scenes of conflict and war ('Humanities'). Each seeks understanding to certain questions on an individual, interpersonal and political level. The first section held my attention the most. Inside the cruise ship is a plethora of "things" (if this was Godard of yesteryear, I'd maybe have written 'bourgeois distractions.') Only when we go outside, or see the light shine in, do we experience crisp photography, scenes of genuine beauty, and people spending their time at least trying to solve some of life's deeper puzzles. Perhaps this is just my own interpretation, but I like the way it is depicted visually. Money is a 'common good' – like water – but party-people onboard use it for nothing but bloated consumerism. Meaningless dance classes and revelry. As two people engage in philosophical discourse outside the main hall, a woman repeatedly falls against the glass partition. Is she dancing and letting her spirit free? Apparently not – she falls face down into the swimming pool. There is a young girl seen frequently with an old man. Something strange there? A hooker perhaps? A maybe rather a scholar or seeker of truth – availing herself of the rich variety of elderly experience onboard (a philosopher, a UN bureaucrat, a Palestinian ambassador, and so on). Characteristic Godardian effects are used with casual precision. There is no attempt at reality if it stands in the way of the point he is making. Such as when the background noise cuts out momentarily for the word 'happiness' to occurs in the girl's dialogue. Deliberate camera distortions emphasise an alcohol-sodden mentality of the majority of passengers, images often obscenely blurred, as if taken on a mobile phone. Or the mother in Section Two who talks to the camera about how she is totally unaware of the part she is playing. There are more hidden references than an afternoon of Tarantino movies. Except, unlike Tarantino's work, Godard is not entertaining pub quiz movie geeks; but giving clues to further meanings within his experimental and exploratory work. A young lad gives a young woman a copy of 'La Porte Entroite,' (a coming of age novel). There are nods to Husserl's philosophical geometry which fit the film but will need hours of study to fully appreciate (we see a projection of a man lecturing on 'geometry as origin' – to an empty auditorium). And Balzac's 'Illusions Perdues,' which anticipates themes of aristocracy vs poverty as well as journalism as intellectual prostitution. And don't miss the homage later to Battleship Potemkin's Odessa Staircase slaughter. Dialogue sparkles from witty – "The United Nations have been somewhat disunited since 1948," to surreal and Zen-like – "Once in 1942 I have encountered nothingness . . ." I'm quoting from memory and leaving the end of the quote for you to enjoy on screen. The individual's relation to government is addressed by the adolescents in the second Section, posing a difference between the State and Society. The dream of the State is to be 'one'; whereas the dream of the Individual is to be two, to 'pair up.' Aggressively intrusive foreigners demanding driving directions are given a cold shoulder ("Go and invade some other country!") An intrusive camera, making a documentary about a coming election, similarly distances everyone from any (inner) reality. Some of the phrases from Section Two bleed over into scenes of Section Three bloodshed. The young girl wants people to, "learn to see before learning to read." Godard's intertitles come fast and frequent, and in many different languages. At one point, a prayer in Hebrew and a prayer in Arabic are overlaid, visually and aurally. It recalls Godard's offhand response to the question, "Peace In the Middle East - when?" by replying, "As soon as Israel and Palestine introduce six million dogs and stroll with them as neighbours who don't speak, who don't speak of something else." Cinema is a remarkable opportunity sometimes to communicate without speaking those things which are often too difficult, or too sensitive, or simply whitewashed of their core by aimless chatter. Or by narrative movies.

  More

• No comment

  polysicsarebest2010-11-26

  As a longtime Godard fan (especially his later works, like "Every Man For Himself" and "King Lear"), the wait for his latest film was excruciating; it had been 6 long years since the brilliant "Notre Musique" confounded and shocked me with its eye-popping imagery, jarring editing, and poetic dialogue. Something I've noticed about Godard is that he always strives for more and is always willing to take his ideas and methods and approach further and further. I was expecting a pure information overload with "Film Socialisme", and I was not let down. There is a lot going on in this picture, and it's going to take many, many watches for me to understand everything, to piece together all the information. No matter -- Godard's works have always been densely-layered and offer rewards for those willing to keep watching. Such is the case here; Godard seems to be be in Histoire(s) du cinéma mode here, since this film -- for the most part -- resembles his work with that brilliant "film essay" series, as well as calling to mind films like Numero Deux and Comment Ca Va? Godard, for the first time, shot this entire film on digital, and the results are fascinating, sometimes even... funny. During one part, the crappy digital camera he had been shooting with appears to have been failing -- or at least, there was some failure when transferred to the computer for editing -- as parts skip ahead, and backwards; there are artifacts on the screen, audible and visual glitches, obscuring moments of a character's speech. This wasn't my DVD -- this was definitely part of the film. Other parts of the (early parts of) movie seem to have been filmed on really crappy webcams, then the footage was oversaturated... the results are quite jarring, especially when some of the "crap" footage is put next to some of the most beautiful digital filmography I've ever seen. There are audio messups, video glitches; recording synch sound on a boat in itself is absurd, as you mainly hear wind, people screaming in the distant, the engine of the ship; in sequences filming a party, you basically can't hear anything but fart sounds, a loud distorted booming and crashing. So, Godard seems to be using new technology against itself, in a way. He plays with jump cuts (which he popularized 50 years ago and has rarely used since), stop-motion (filming a camera being reassembled), dramatic pausing, silence, glitching, and slow motion. The first 40 minutes are all kinda like this; voices from who-knows-where delivering lines that were important to Godard, as image after image is shown in very quick bursts; some images were jaw-droppingly beautiful, some were distorted beyond comprehension -- all were striking. Godard is first and foremost an artist, and rest assured that the first 40 minutes are highly artistic. Not a dull moment in what can only be described as a postmodern documentary. Has Godard been watching the Current Channel? Has he been surfing Youtube? There definitely seems to be a lot of influence from outside sources in this part of the film, maybe even some of video art manipulating master Ryan Trecartin... Then, the next part of the film -- a good 30-40 minutes -- is extremely "Godardian". It should be very familiar to people who have seen any of Godard's recent films. There's not a lot of image or sound manipulation here; just lots of long, quiet takes of characters discussing life... usually filmed in front of strikingly beautiful backdrops. This section calls to mind every film he's made in the last 30 years, Some people call this "alienating", but his style is so brilliantly personal, I can't help but be fascinated. The direction in this section is topnotch, of course... ...and it leads to the final 30 minutes, which is mostly a film essay, with dialogue over top of mostly stock footage (scenes from other films). So, it's an overwhelming experience, but I never felt it was 'tiring'; I could've watched another hour or two of this stuff, definitely. Therein lies its brilliance. While, indeed, its difficult to sum up in a few words, its not difficult to understand why its so compelling; this is one giant ball of images, sounds, quotes, hitting us so fast that we can barely keep up. I'm not qualified to put forth everything this film meant to me, after just one watch, but I do know I will be watching this film 100 more times in the future, because it's just so captivating. Forgot to mention... LOLcats are on this, as well as a lama who lives in a garage. A truly brilliant experience that a lot of people will find "difficult" or "challenging", but to be completely honest, this is one of Godard's most easy-to-get-into films in a long time; by adopting the elliptical "youtube editing" and by going into "Sensory overload" mode (at least, for a lot of its length), Godard has actually managed to make a film that even an A.D.D.-addled teenage could probably enjoy... all the while, commenting on aspects such AS sensory overload, technology, language, and how impersonal and cold everyone in 2010 is. Characters speak but don't "converse". Talk, talk, talk... but no one listens. No one responds. In many ways, this is a style Godard has always utilized, but this is his best display of it; this might be the ultimate Godard film. PS: I originally had a LOT more written on each section, but I had to keep removing chunks of it to get it to the 1000 word limit. I suspect anybody who tries to review this film will probably face the same challenge; there is just simply too much to say about this film. Truly the best film of the past 10 years.

  More

• Film socialism (take 2)

  sandover2010-11-19

  This needs some kind of foregrounding. We have to acknowledge that Godard is a unique case, unique in the sense that there is always a lot of experimentation and improvisation in his work, and given that, he spans five decades of work, so, being now in his eighth decade, one expects some idiosyncratic responses. What we have to have in mind also is that he is a french cultural phenomenon. By that I mean this: from his work in the sixties, one thing that keeps coming back is a tripartite approach to things. From his famous remark "I like films with beginning, middle and end, but not necessarily in that order" to his use of blue, red and white as elements commenting on both the French and the American flag/ideology, to his development in a late film like "Notre Musique" of tripartite loose structure, there is something telling. What it tells us I think meets the french tradition of Roland Barthes' text "Image-Music-Text" and Levi-Strauss "Look-Listen-Read", authors Godard has the knack of citing. And of course, there is Liberty-Equality-Fraternity, which is a good starting point. A good starting point namely because these are the words shot in his "Made in USA", and Liberty first, written in blue, blue being its symbol. And look what happens: from his aforementioned use of the three colors, blue is the colorful word missing in this new feature. Liberty, I take him telling us, is absent from (a film called) socialism. This is not random. There are other similar hints right from the start to guide us in his signature mixture of images, sound and music; we just have to be in tune in order to savor the off-beat humor. "Money is a common good," says a man's off-voice at the start and a woman's voice responds "Like water then" as we face the sea's skin of water and Mediterranean bright light - and like two shots next, there is a wave crashing close to us, as if suggesting "common good, you said?" The first part of the film is brimming with suggestions and shows a supreme craftsmanship, equaled perhaps only by the late Alain Resnais' "Wild Grass" last year. From this we should not disregard a stubborn perhaps element of playfulness just for the heck of it. Brimming with suggestions is also brimming with directions: the brilliant use of pixelized images early on at that take of the ship's disco with people thumping and with the distortion of sound arousing anxiety at least on this viewer, and the insistence of presenting the inanity of such mass cultural acting-out, has a visceral power that exposes the trivial effect of, say, Apichatpong Weerasethakul's "Syndromes and a Century" last shot of a cute mass aerobic demonstration (a theme that keeps coming back in his films). Or that long take of a woman jogging on the deck joins Kubrick's circular jogging in "2001". Or the sublime jump-cut attack before the first part resumes, with that oppressive soundtrack of strings and two girls belly-dancing, has an eerie quality that reminds one of David Lynch. The difference in all examples cited, or the larger in-joke to Fellini's "And the ship goes", is that the force or eeriness derives and is directed to cultural impact. In fact, "Film Socialisme" could be called an ominous elegy. At one point the screen asks us "Quo Vadis Europa?" This may seem to some obvious, but Godard never shied away from his cultural heritage. And even if Patti Smith's presence winks to Pina Bausch's presence in Fellini's film, the three rugged shots in which she appears show with anxiety that her subversive place is occupied by forces increasingly at odds with adult culture. Perhaps this is why Godard trusts with unexpected tenderness the children's equivocal stature: early on the ship a kid punching the air tells the old man sunbathing, in a blatant historical quip, that he was a Nazi, and he with a gruff voice offers malediction. This tells more than a whole bag of cultural and historical alienation. And the generation gap Godard now seems to palpably feel. In the middle section, to call it that, he offers us what I thought was his most tender confession, with that blond boy wearing a red USSR t-shirt and conducting in an endearing and ridiculous manner an invisible orchestra, then telling us that he would puff away the world if it was his caprice to act so: this exposes the vanity, the misgivings of a giant-child's ideological beliefs, be it socialism or younger Godard. He seems to say goodbye to all that, but what will come he does not hint after. But this section revisiting "Weekend"'s limbo and the youth of "La Chinoise" has an unparalleled appreciation of what a child's or a youth's face is. I wish I had more space to go into this in more detail. Where unfortunately I thought the temperature of the film considerably lowered was the last part of the film. It gave me the impression Godard skimmed through the documentary medium, curiously disfavoring its form, as if impatient with it, and at the same time not challenging it, as if in for an uninspired tour. Something was missing, as if the energy to continue abandoned him. Was it in preparation of the "no comment" ending, an ending the way a DVD begins? For me, if this is the case, as if he mixed enraged laughter and placid smile, it left me wanting. I hope this is not the last we will see of Godard. I love him.

  More