First Name: Carmen
First Name: Carmen is a 1983 film by Jean-Luc Godard. It is loosely based on Bizet's opera Carmen; the film had 395,462 Admissions in France. Carmen, in a voice over paired with shots of the city and the sea, introduces herself as "the girl who should not be called Carmen." Somewhere a string quartet is rehearsing the late string quartets of Beethoven. The eccentric Jeannot is living in a sanitarium where the doctor threatens to throw him out if he doesn't start to show signs of real illness. Carmen comes to visit him, it is revealed he is a washed up filmmaker and her lecherous uncle. After getting her Uncle Jeannot to loan her his seaside apartment and some others attempt to rob a bank. During the mayhem of the robbery, Carmen comes face to face with Joseph, a comically inept bank guard, the two fall in love; the string quartet continues to rehearse, inflecting the scenes of the robbery, vice versa. The narrative link is that one of the members of the quartet is Claire, established earlier in the film as a potential love interest for Joseph.
Carmen and Joseph retreat to Uncle Jeannot's apartment, where Carmen recalls childhood incestuous encounters. Carmen tells Joseph, quoting from Carmen Jones, "if I love you, that's the end of you." Joseph is put on trial, while Carmen escapes with Fred, the leader of her gang. In flashback, Carmen reveals to Joseph that the robbery was intended to fund a larger project, the kidnapping of "a big manufacturer," or his daughter, with a fake film directed by Uncle Jeannot meant to provide cover, a scheme that John Dillinger once perpetrated. Joseph is acquitted with the help of Claire's moral support. Meanwhile, Fred persuades Uncle Jeannot to direct the gang's film. After receiving a rose from her during the trial, Joseph reunites with Carmen at a hotel where the gang is staying, he plans to renew their relationship and to participate in the kidnapping, but Carmen seems uninterested in him and the gang ostracizes Joseph. Things go from bad to worse for Joseph as Carmen toys with a young hotel attendant, Fred directs Carmen to tell Joseph it's over, Joseph forces Carmen into an abject sexual encounter in the shower where he masturbates on her.
The day of the kidnapping arrives, is to take place in the restaurant in the hotel where the gang has been staying. Uncle Jeannot is present to direct the film, along with the string quartet and the police; as with the bank robbery, mayhem ensues. Joseph is determined to face off with Carmen alone. Leaving her for dead, the police drag Joseph away. In a stupor, Carmen asks the young hotel attendant what it's called when the innocents are on one side and the guilty on the other, when everything's been lost but you're still breathing and the sun is still rising. "Daybreak," he responds. Maruschka Detmers as Carmen X Jacques Bonnaffé as Joseph Bonnaffé Myriem Roussel as Claire Hippolyte Girardot as Fred First Name: Carmen on IMDb
Masculin Féminin is a 1966 French-Swedish New Wave film directed by Jean-Luc Godard. It stars Jean-Pierre Léaud, Chantal Goya, Marlène Jobert, Catherine-Isabelle Duport, Michel Debord. Masculin Féminin is a notable film within Godard's 1960s period of filmmaking and is considered by critics as representative of 1960s France and Paris; the film contains references to various pop culture icons and political figures of the time, such as Charles de Gaulle, André Malraux, James Bond, Bob Dylan, follows Godard's non-linear filmmaking techniques and narratives. At times the main story is interrupted by various sequences and sub-plots, including a scene paraphrased from LeRoi Jones’ Dutchman. Arguably the most famous quotation from the film is "This film could be called The Children of Marx and Coca-Cola", an intertitle between chapters; the film stars Jean-Pierre Léaud as Paul, a romantic young idealist and literary lion-wannabe who chases budding pop star Madeleine. Despite markedly different musical tastes and political leanings, the two soon become romantically involved and begin a ménage à quatre with Madeleine's two roommates and Elisabeth.
The camera probes the young actors in a series of vérité-style interviews about love and politics. Jean-Pierre Léaud as Paul, a young idealist Chantal Goya as Madeleine Zimmer, a young singer Marlène Jobert as Elisabeth Choquet, Madeleine's roommate Michel Debord as Robert Packard, a journalist Catherine-Isabelle Duport as Catherine-Isabelle Brigitte Bardot as herself Antoine Bourseiller as himself Françoise Hardy as the wife of the American officer In 1965 Anatole Dauman, the head of Argos Films, wanted to re-edit and re-release Alexandre Astruc's 1952 44-minute film The Crimson Curtain, he decided that he wanted another medium-length film to accompany Astruc's film and offered the project to Godard, suggesting that Godard adapt Guy de Maupassant's short story The Signal. Godard had agreed to the project. Dauman suggested that Godard adapt Maupassant's short story Paul's Mistress and secured the rights to both short stories; when filming began, Godard discarded both Maupassant short stories and Maupassant's publishers agreed that the film was in no way an adaptation of the author's work.
The only parts of either short stories that appear in the film is the fact that the main characters name is Paul and the "film within the film" that the main characters go to see at a movie theater was inspired by "The Signal". Godard did not have a shooting script. Godard was interested in working with singer Chantal Goya because she was neither a film or stage actress when she was introduced to him by Daniel Filipacchi on November 7, 1965. Shooting began on November 22, 1965. Godard used a minimal crew throughout the production. Due to the portrayal of youth and sex, the film was prohibited to persons under 18 in France—"the audience it was meant for," griped Godard. Reviews were mixed in both France and in the U. S. Georges Sadoul praised the film's ability to speak to young people, while H. Chapier criticized the film but praised Leaud's performance. Tom Milne called it Godard's "most complex film to date." Pauline Kael said that it was "that rare achievement: a work of grace and beauty in a contemporary setting."
Andrew Sarris called it "the film of the season." Judith Crist said that it had "flashes of original wit and contemporary perceptions." Bosley Crowther disliked the film and called it "entertainment of only the most loose and spotty sort." Gene Moskowitz called it "naive and knowing and engaging."The film was selected for screening as part of the Cannes Classics section at the 2016 Cannes Film Festival. Jean-Pierre Léaud won the Silver Bear for Best Actor at the 16th Berlin International Film Festival. At the Berlin Film Festival the film won an award for the year's best film for young people. List of French language films Yé-yé Masculin Féminin on IMDb Masculin Féminin at Rotten Tomatoes Masculin Féminin at Metacritic Masculin Féminin at AllMovie Masculin féminin: The Young Man for All Times an essay by Adrian Martin at the Criterion Collection
Two or Three Things I Know About Her
Two or Three Things I Know About Her is a 1967 French New Wave film directed by Jean-Luc Godard, one of three features he completed that year. Like the other two, it is considered both and stylistically radical. Village Voice critic Amy Taubin considers it one of the greatest achievements in filmmaking; the film does not tell a story so much as present an essay-like study of Godard's view of contemporary life. Everything should be put in a film". Godard himself narrates the film in a whispered voice-over that discusses his fears to the audience about the contemporary world, including the Vietnam War; the film cuts to various still shots of bright consumer products and ongoing construction. Like many of the director's works, the film does not follow the narrative arc of conventional cinema, with an introduction and resolution. Instead, it presents 24 hours in the sophisticated but empty life of Juliette Jeanson, a seemingly-bourgeois married mother, part of whose life involves prostitution. Juliette begins her day dropping off her screaming child to a man who has a flourishing business doing childcare for call girls.
Her uneventful daily routine of shopping and child-rearing is interspersed with assignations with clients. All of the film's sexual interplay is banal instead of erotic, one client, an American wearing a shirt with his country's flag, demands the women he has hired wear airline shopping bags over their heads. Though there was a script, there are many moments in which the cast breaks the fourth wall, looking into the camera and giving random monologues about what they think about life and themselves. Vlady and other actors wore earpieces through which the director would ask surprise questions catching Vlady off-guard because she was required to give spontaneous answers that were appropriate to her character. Marina Vlady as Juliette Jeanson Roger Montsoret as Robert Jeanson Anny Duperey as Marianne Raoul Lévy as John Bogus, the American Jean Narboni as Roger Juliet Berto as girl talking to Robert Christophe Bourseiller as Christophe Jeanson Marie Bourseiller as Solange Jeanson Godard began production on the film in the summer of 1966.
Shortly afterwards, he was approached by his producer Georges de Beauregard to make a film for him due to a financial difficulty after Jacques Rivette's film The Nun was banned by the French government. Godard began production on Made in USA, his last film with Anna Karina. Godard would shoot Two or Three Things I Know About Her in the morning and Made in USA in the afternoon for one month straight; the film was first inspired by an article in Le Nouvel Observateur about prostitution in the suburbs by Catherine Vimenet. Godard stated that during the film he wanted "to include everything: sports, politics groceries" and that the film was "a continuation of the movement begun by Resnais in Muriel: an attempt at description of a phenomenon known in mathematics and sociology as a'complex'." The film's most famous shot is a lengthy close-up of a cup of coffee. In an essay, Godard stated that "basically what I am doing is making the spectator share the arbitrary nature of my choices, the quest for general rules which might justify a particular choice."
He added "I watch myself filming, you hear me thinking aloud. In other words, it isn't a film, it's an attempt at a film and presented as such." Juliette lives in one of many supposedly-luxurious high-rises being erected in the banlieues of Paris. While meant to provide housing to families working in the growing capital during the prosperous post-war years, Godard sees the banlieues as the infrastructure for promoting a value system based on consumerism, a term he equates with prostitution itself: a consumerist society, he explained during a debate on the 25 October 1966 edition of Zoom, demands a work force living in regimented time and space, forced to work jobs they don't like, "a prostitution of the mind."Around the time he was making the film, Godard appeared on the television program Zoom to debate with government official Jean St. Geours, who predicted that advertising would increase as the basic impulse of the French society at the time was to increase its standard of living. Godard explained that he saw advertisers as the pimps who enslave the women to the point where they give their bodies without compunction, because they've been convinced that what they can buy has more potential to bring happiness than does the loving enjoyment of sex.
Like many of Godard's films from the mid-1960s onward, 2 or 3 Things demonstrates his growing disenchantment with America. This contrasts with his earlier French New Wave films like Breathless, which make admiring references to American cinema and actors. A promotional poster for the film offered different meanings for the "her" of the title, each one a French feminine noun: HER, the cruelty of neo-capitalism HER, prostitution HER, the Paris region HER, the bathroom that 70% of the French don't have HER, the terrible law of huge building complexes HER, the physical side of love HER, the life of today HER, the war in Vietnam HER, the modern call-girl HER, the death of modern beauty HER, the circulation of ideas HER, the gestapo of structures; the film won the Prix Marilyn Monroe in 1967 from a jury that included Marguerite Duras and Florence Malraux. A new 35mm print of the film was released in US theaters in 2007. Cinema of France List of French-language films Two or Three Things I Know About Her on IMDb 2 or 3 Things I Know About Her: The Whole and Its Parts an essay by Amy Taubin at the Criterion Collection
Jean-Luc Godard is a French-Swiss film director and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement. Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, preferred the great works of the past to experimentation." As a result of such argument, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. In 1964, Godard described his and his colleagues' impact: "We barged into the cinema like cavemen into the Versailles of Louis XV." He is considered the most radical French filmmaker of the 1960s and 1970s. Along with showing knowledge of film history through homages and references, several of his films expressed his political views. Since the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, a Marxist perspective.
In a 2002 Sight & Sound poll, Godard ranked third in the critics' top-ten directors of all time. He is said to have "created one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century." He and his work have been central to narrative theory and have "challenged both commercial narrative cinema norms and film criticism's vocabulary." In 2010, Godard did not attend the award ceremony. Godard's films have inspired many directors including Martin Scorsese, Quentin Tarantino, Brian De Palma, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini. From his father, he is the cousin of former President of Peru, he has been married twice, to actresses Anna Karina and Anne Wiazemsky, both of whom starred in several of his films. His collaborations with Karina—which included such critically acclaimed films as Bande à part and Pierrot le Fou —was called "arguably the most influential body of work in the history of cinema" by Filmmaker magazine.
Jean-Luc Godard was born on 3 December 1930 in the 7th arrondissement of Paris, the son of Odile and Paul Godard, a Swiss physician. His wealthy parents came from Protestant families of Franco–Swiss descent, his mother was the daughter of Julien Monod, a founder of the Banque Paribas, she was the great-granddaughter of theologian Adolphe Monod. Relatives on his mother's side include composer Jacques-Louis Monod, naturalist Théodore Monod and pastor Frédéric Monod. Four years after Jean-Luc's birth, his father moved the family to Switzerland. At the outbreak of the Second World War, Godard was in France and returned to Switzerland with difficulty, he spent most of the war in Switzerland, although his family made clandestine trips to his grandfather's estate on the French side of Lake Geneva. Godard attended school in Switzerland. Not a frequent cinema-goer, he attributed his introduction to cinema to a reading of Malraux's essay Outline of a Psychology of Cinema, his reading of La Revue du cinéma, relaunched in 1946.
In 1946, he went to study at the Lycée Buffon in Paris and, through family connections, mixed with members of its cultural elite. He lodged with the writer Jean Schlumberger. Having failed his baccalaureate exam in 1948 he returned to Switzerland, he lived with his parents, whose marriage was breaking up. He spent time in Geneva with a group that included another film fanatic, Roland Tolmatchoff, the extreme rightist philosopher Jean Parvulesco, his older sister Rachel encouraged him to paint, in an abstract style. After time spent at a boarding school in Thonon to prepare for the retest, which he passed, he returned to Paris in 1949, he registered for a certificate in anthropology at the University of Paris, but did not attend class. He got involved with the young group of film critics at the ciné-clubs. Godard held only French citizenship in 1953, he became a citizen of Gland, canton of Vaud, Switzerland through simplified naturalisation through his Swiss father. In Paris, in the Latin Quarter just prior to 1950, ciné-clubs were gaining prominence.
Godard began attending these clubs – the Cinémathèque, the CCQL, Work and Culture ciné Club, others – which became his regular haunts. The Cinémathèque had been founded by Henri Langlois and Georges Franju in 1936. At these clubs he met fellow film enthusiasts including Jacques Rivette, Claude Chabrol, François Truffaut. Godard was part of a generation for, he has said: "In the 1950s cinema was as important as bread—but it isn't the case any more. We thought cinema would assert itself as an instrument of knowledge, a microscope... a telescope.... At the Cinémathèque I discovered a world. They'd told us about Goethe, but not Dreyer.... We watched silent films in the era of talkies. We dreame
Alain Cuny was a French actor in theatre and cinema. René Xavier Marie Alain Cuny was born in Brittany, he developed an early interest in painting and from the age of 15 he attended the École des Beaux-Arts in Paris. He met Picasso and members of the surrealist group, he began working in the film industry as a costume and set designer and was employed on films of Cavalcanti and Renoir. After a meeting with the actor-manager Charles Dullin, Cuny was persuaded to study drama and he began acting on stage in the late 1930s. In the theatre, Cuny became linked with the works of Paul Claudel. Another literary friend and hero was Antonin Artaud, "whose texts he read with supreme conviction at a time when Artaud was more or less an outcast, a situation reflected in Artaud's Van Gogh: The Man Suicided by Society, which Cuny interpreted in his voice's fabulous organ tones". Cuny worked with Jean Vilar at the Théâtre national populaire, with Jean-Louis Barrault at the Odéon-Théâtre de France, his dramatic presence and measured diction made him well-suited to many classical roles.
His first major role in the cinema was as one of the devil's envoys in Marcel Carné's film Les Visiteurs du soir. A few other romantic leading parts followed, but he appeared in supporting roles in characterizations of intellectuals such as the tormented philosopher Steiner in La Dolce Vita, directed by Federico Fellini, he worked in Italian cinema and had close associations with Michelangelo Antonioni and Francesco Rosi as well as Fellini. One of his most admired film performances was in Rosi's Uomini contro, as the rigidly authoritarian General Leone. Among his French films were The Lovers, directed by Louis Malle, Jean-Luc Godard's Détective, he appeared in the softcore porn film Emmanuelle, a role which he said he took to show his contempt for the film business. In the same year, he played Sitting Bull in the absurdist western Ne touchez pas à la femme blanche!. Towards the end of his career he returned to aspects of Claudel, he appeared in Camille Claudel, a biographical film about the author's sister in which he played their father, Louis-Prosper Claudel.
In 1991 he completed a long-planned film adaptation of a Claudel play The Annunciation of Marie, a French-Canadian production in which he both directed and acted. He gave regular readings of Claudel's work at the Festival d'Avignon. Alain Cuny died in 1994 in Paris, he is buried in Civry-la-Forêt, west of Paris. 1942: Les Visiteurs du soir, directed by Marcel Carné 1943: Le Baron fantôme, directed by Serge de Poligny 1952: Camicie rosse, directed by Goffredo Alessandrini and Francesco Rosi 1953: La signora senza camelie, directed by Michelangelo Antonioni 1956: Notre-Dame de Paris, directed by Jean Delannoy 1958: Les Amants, directed by Louis Malle 1960: La dolce vita, directed by Federico Fellini 1965: Astataïon, ou Le Festin des morts, directed by Fernand Dansereau 1969: La Voie lactée, directed by Luis Buñuel 1969: Satyricon, directed by Federico Fellini 1970: Uomini contro, directed by Francesco Rosi 1972: Il maestro e Margherita, directed by Aleksandar Petrović 1974: Touche pas à la femme blanche!, directed by Marco Ferreri 1974: Emmanuelle, directed by Just Jaeckin 1976: Cadaveri eccellenti, directed by Francesco Rosi 1978: El recurso del método, directed by Miguel Littín 1979: Cristo si è fermato a Eboli, directed by Francesco Rosi 1985: Détective, directed by Jean-Luc Godard 1987: Cronaca di una morte annunciata, directed by Francesco Rosi 1988: Camille Claudel, directed by Bruno Nuytten 1991: L'Annonce faite à Marie, directed by Alain Cuny 1992: Le Retour de Casanova, directed by Édouard Niermans Alain Cuny on IMDb Alain Cuny at the Internet Broadway Database Alain Cuny at the TCM Movie Database Alain Cuny at AllMovie Alain Cuny, at Film Reference.
Retrieved 22 January 2016
Passion (1982 film)
Passion is a 1982 film by Jean-Luc Godard, the second full-length film made during his return to mainstream filmmaking in the 1980s. Set in winter in Switzerland, it is about the making of an ambitious art film that uses re-creations of classical European paintings as tableaux vivants, set to classical European music. Only incomplete scenes of the film within the film are shown, because it has no settled plot and never gets finished. While making it, the crew become involved in various ways with the locals, some of whom are recruited as extras. Jerzy is a Polish director, making a film at a studio in Switzerland which contains a series of tableaux vivants, his producer László is impatient because there is no apparent story to the film and Jerzy keeps delaying and cancelling shoots citing difficulties with the lighting. During the filming, Jerzy gets involved with two local women: Isabelle, an earnest young factory worker with a stutter, Hanna, the worldly German owner of the motel where the crew are staying.
Hanna is married to Michel, a difficult man with a chronic cough who owns the factory where Isabelle works. Isabelle is fired from her job and attempts to organize her fellow workers to strike – not for her sake, but for their own; the film crew is meanwhile recruiting factory workers as extras for the tableaux that Jerzy is shooting. Jerzy continues to search for the right lighting in the studio and to try to manage an unruly group of extras. At the same time he is trying to continue his relationship with Hanna, with whom he has shot some test footage that the two review together while discussing the intersection of love and work. Jerzy is taken with Isabelle, who wants to merge love and work, she tries to get Jerzy involved with her cause and to make meaningful connections with the film crew, asking them why films never show people working. Isabelle and Jerzy have an intimate encounter and Isabelle gives up her virginity, she accepts a payoff from Michel, her fellow workers having abandoned their half-hearted attempt at a strike.
László secures more money for the film but Jerzy feels the tug of the dramatic events of the Solidarity movement in Poland and of his family back there. Feeling unable to complete the project, he leaves for Poland without either Isabelle or Hanna but instead with a waitress from the motel. Isabelle and Hanna connect up with each other and decide to go to Poland. Jerzy Radziwilowicz - Jerzy Isabelle Huppert - Isabelle Hanna Schygulla - Hanna Michel Piccoli - Michel László Szabó – László Myriem Roussel – One of the nude models Sophie Loucachevsky - Sophie Though the original paintings which the tableaux vivants portray are frozen in space and time and can be studied at leisure in two dimensions, in silence, the film makes them three-dimensional; the camera moves around the actors, who move in and out of position, the lighting varies and recorded classical music plays. However, viewers are given no chance to appreciate any of the tableaux in any depth because only partial views are shown for brief moments.
The Night Watch is intercut with views of Isabelle working in the factory. There is discussion over what story the painting is telling, or whether it has no story at all, over its intricate construction, over the source and intensity of its lighting; these three themes echo throughout Passion, which has continuing arguments over the significance of plot, the relationships between characters, the inadequacies of artificial light. Accompanied by the Introitus of Mozart's Requiem, elements of four Goya paintings are shown. At first only the woman from the innocent pastoral scene of The Parasol can be seen, who walks towards the firing squad in Third of May 1808 and is enmeshed in the horrors of war. In the background can be glimpsed La Maja Desnuda, exuding sexual allure, while actors are getting ready for Charles IV of Spain and His Family. Inserted are shots of Isabelle asleep in her apartment. Paintings of nude women in Turkish baths, such as The Valpinçon Bather and The Turkish Bath, are only recreated in fragments, interrupted by episodes in the motel and in the factory.
The naked actresses in the studio continue the theme of desire, typified by the Naked Maja, while the outside scenes reprise the world of work. When Jerzy is not content with the lighting, as usual, the producer asks him what is «the right light», he responds by plunging the studio into darkness, to show that it is a place where lighting can never match reality, draws a comparison between Hanna, a woman open to the light, Isabelle, opaque. However, Jerzy does persuade Isabelle to be one of the naked models. In these tableaux, which recreate the Entry of the Crusaders in Constantinople and Jacob wrestling with the Angel, there is a high degree of movement. Knights on horseback circle restlesly around the set of the Greek city, while Jerzy himself becomes part of the scene when he begins a wrestling match with the actor playing the Angel. Set to Fauré’s Requiem, the tableau of the Assumption of the Virgin has parallel scenes in the motel involving Jerzy and Isabelle, who admits she is still a virgin.
The Embarkation for Cythera is only shown in disjointed fragments, after it becomes evident that the film is never going to be completed, the camera stays far away, giving a dispassionate documentary air to the empty ship and isolated couples. It is the only tableau in the open air exploiting natural light. In several ways, the film looks back to Godard's 1963 film Contempt, about the tensions among a multinational team on location making a film that will never be completed; that film had Michel Piccoli as one of the male leads and was shot by Raoul Coutard. It too oscillated between the demands of art, in th