Jean-Luc Godard – British Sounds (1970)

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Jean-Luc Godard made the hour-long 1969 experimental documentary British Sounds also known as See You at Mao for London Weekend TV in 1969. In the opening scene, a ten minute long tracking shot along a Ford factory floor, a narrator reads from The Communist Manifesto. This is followed by a woman wandering around her house naked while a narrator reads a feminist-tinged text, a news commentator reading a pro-capitalist rant that is repeatedly and abruptly cut off to show workers that contradict his statements, and a group of young activists preparing protest banners while transposing communist propaganda to Beatles songs (“You say Nixon/I say Mao” to “Hello Goodbye”). It closes with a fist repeatedly punching through a British flag. It’s a bold and assaultive socialist screed made during the director’s most divisive political period and was banned from television. Of note are the director’s experiments juxtaposing image, text, and sound. ~ Michael Buening, All Movie Guide Continue reading Jean-Luc Godard – British Sounds (1970)

Jean-Luc Godard – Un Film Comme Les Autres AKA A Film Like Any Other [English version] (1968)

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What can be verified about the film are two 16mm reels of equal duration composed of two parts: A colour component (which makes up the bulk of the film), illustrating a group of five “students from Vincennes and workers from the Renault plant at Flins”.[10] The group sit in a field outside a large tenement block on the outskirts of Paris and discuss politics, the objectives of the May revolt, and the potential steps involved in achieving revolution in France. The second component of the film is comprised of silent black and white ‘documentary’ footage from the events of May intercut with the colour ‘live’ action in the field. Each of the black and white sections illustrates the May events that the participants discuss, and acts as a complement to their conversation. Continue reading Jean-Luc Godard – Un Film Comme Les Autres AKA A Film Like Any Other [English version] (1968)

Jean-Luc Godard – Ici et ailleurs AKA Here and Elsewhere (1976)

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Here and Elsewhere
Capsule by Jonathan Rosenbaum
From the Chicago Reader

Jean-Luc Godard’s short feature about the PLO was initially shot with Jean-Pierre Gorin in the Middle East in 1970, but when he edited the footage with Anne-Marie Mieville several years later, many of the soldiers that had been filmed were dead. Reflecting on this fact, as well as on the problems of recording history and of making political statements on film, Godard and Mieville produced a thoughtful and provocative essay on the subject. Coming after the mainly arid reaches of Godard’s “Dziga Vertov Group” period (roughly 1968-1973), when his efforts were largely directed toward severing his relation with commercial filmmaking and toward forging new ways to “make films politically,” this film assimilates many of the lessons he learned without the posturing and masochism that marred much of his earlier work. The results are a rare form of lucidity and purity. All proportions guarded, it is a little bit like hearing John Coltrane’s “Blues for Bessie” after the preceding explorations of “Crescent” and “Wise One” on his Crescent album. Continue reading Jean-Luc Godard – Ici et ailleurs AKA Here and Elsewhere (1976)

Jean-Luc Godard – Je vous salue, Marie AKA Hail, Mary (1985)

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In this contemporary retelling of the birth of Christ, the Virgin Mary is a gas station employee and Joseph her taxi-driving boyfriend. Mary is an ordinary teenager playing basketball, but who vows to maintain her chastity. Following a warning from an avuncular angel, a confused Mary unexpectedly falls pregnant and is forced to wed Joseph. He in turn must love his virgin bride from a distance, revering her without touching her. Continue reading Jean-Luc Godard – Je vous salue, Marie AKA Hail, Mary (1985)

Jean-Luc Godard & Jean-Pierre Gorin – Le vent d’est AKA East Wind (1970)

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Two voices. One French, one American. A political tract concerning the issues of Communism in the workplace and ideals of freedom and equality, post-May, 1968, is recited back and forth over an obscured image of bodies slumbering in what appears to be a garden. The image is pastoral and idyllic in presentation, suggesting an almost abstract quality devoid of time and place. After a series of static images that simply observe these scenarios – largely with no real movement within the frame – we see a small group of actors preparing themselves for a film. As we continue, these actors, who speak Italian and are dressed in period costume, wander through this idyllic location as the narration goes on to discuss a cinema of revolution and the history of politics in cinema dating as far back as Sergei Eisenstein. Through this, the filmmakers are able to reflect on the notions of politics and history in both a cultural and cinematic sense; creating in the process a film that collapses elements of genuine historical fact, and superimposes them over the struggles and issues of the present day. Continue reading Jean-Luc Godard & Jean-Pierre Gorin – Le vent d’est AKA East Wind (1970)

Jean-Luc Godard – Sauve qui peut (la vie) aka Slow Motion (1980)

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Noel Megahy @ DVDTimes.co.uk wrote:

During the 1970’s Jean Luc Godard abandoned the notion of making normal commercial films for cinematic distribution in favour of his Marxist-Leninist ‘Dziga Vertov’ propaganda films. The director returned to regular filmmaking in 1980 with Sauve Qui Peut (La Vie), his first theatrical release since his furious outburst against modern bourgeois society in 1967 with Weekend. Delivering another hate-filled attack on almost every aspect of modern society, it’s like he had never been away. Continue reading Jean-Luc Godard – Sauve qui peut (la vie) aka Slow Motion (1980)

Jean-Luc Godard – A Conversation with Jean-Luc Godard (1968)

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Here`s a long Godard interview from 1968 where he not only gives interesting insides into his La Chinoise but also talks about Foucault, Roland Barthes, Bergman`s Persona,
Pasolini and much more.

Here are some quotes:

Quote:

That’s precisely why we’re
trying to make movies so that future Foucaults
won’t be able to make such assertions with quite
such assurance. Sartre can’t escape this reproach,
either. Continue reading Jean-Luc Godard – A Conversation with Jean-Luc Godard (1968)