Agnes Guillemot – Cut To The Chase

Directed By: Jean-Luc Godard

Written by & based on the novel “IL DISPREZZO” By: Alberto Moravia

Cinematography: Raoul Coutard

Editor: Agnes Guillemot

Cast: Jack Planace, Brigitte Bardot, Fritz Lang, Michel Piccoli, Giorgia Moll

A French writer’s marriage deteriorates while working on Fritz Lang’s version of “The Odyssey”, as his wife accuses him of using her to court favor with the film’s brash American producer.

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Tortured Myself again, by watching another Jean Luc-Godard From my Criterion Collection, sight unseen.

I know how dour that already sounds. You just have to know that me and Jon Luc Godard films have had a love-hate relationship. I have actually liked and enjoyed some films that I didn’t expect while other films that are considered classics I found rather boring noteworthy for different reasons.

I like the ideas of Jean-Luc Godard, in his style though the films not necessarily as much at times they work, but usually not at least for me as they become statements which might have worked at the time as bold but now come across as pretentious, cinematic, theatrical games, there is a living quality to them in an absurd quality, as they are usually quite beautiful, but leaves the audience lost to find their own way, which is commendable, if not having

I will say watching the movie is like reading a classic book you don’t like and wonder why so many do as it feels more like an assignment that you’re determined to finish

This is one of those movies where you’re going to come up with your own theory or understanding of it so I’m only gonna present my interpretation.

Now it’s always entertaining watching a younger Jack Palance in a film, as well as young women, riding bicycles in skirts. Though watching Fritz Lang steal the movie in his scenes was worth it

It is another movie of Brigitte Bardot being torn supposedly between Teague lovers neither of which is seem a good choice, but one is better than the other and her never having chemistry who is the one who is older, has more money and seems more want her only physically.

This film is a satire film making, but it seems to turn more into a domestic drama romance of a deteriorating marriage.Even as it explores the themes of selling out or staying, true to your principles.

That was it’s a beautiful locations still end up being a hang out movie that is in the middle of paradise yet everyone is oblivious to the beauty of their surroundings or they’ve been there so long that it is normal to them, though the film still manage to showcase the beauty and appeal of Brigitte Bardot and it seems like while everybody in the film can see her beauty she is like the background to them. They’ve grown so used to her that it’s normal, but will still contest her. Well, the film and filmmaker bathe her and loving light as well as give her a meaty challenging role. Though questionable if you might actually like her by the end

One can say that at least she gets to play full character other than just a fantasy or an object of beauty pretty much a bombshell, though she does Grace the poster, so it she did help sell tickets for this phone as next to Jack Palance she’s the biggest name in the film and of course Fritz Lang. No, she seems to be the entrance or introduction for us to the Phil as the camera lingers on her

Throughout the film, we see the games that all the characters seem to be playing weather in love relationships filmmaking financing.

Now one can see where Martin Scorsese got part of his score of CASNO from. It gets annoying a bit at times watching its source play throughout. The score “ST. MATTHEW PASSION BMV 244/PART TWO: WIR SETZEN UNS MIT TRANEN NEIDER”’By Johann Sebastian Bach

Which leads me to wonder Did he use it to subconsciously say that all these characters are in this Idyllic Wonderland in that they are alienated from it due to mounting domestic pressures & alienation from one another

Didn’t expect this to become one of Godard Morchella Ching films even though it’s seams like most of them are as the film deals with alien nation. It almost feels more like a Michelangelo Antonioni film only no not as long, and this seem to have more of a cruel, ending the natural ending.

In the end, I have no problem, admitting maybe I didn’t quite get it as much as others did as I loved the concepts and drama that was introduced that lead to discussions and conversations even after you watch the film no again I can’t say I enjoyed it, or necessarily would need to watch it again

Written & Directed by: Jean-Luc Godard Based on the short story “LA AUTOPISTA DEL SUR” By: Julio Cortazar Cinematography: Raoul Coutard Editor: Agnes Guillemot

Cast: Mireille Barc, Jean Yanne, Jean-Pierre Kalfon

A supposedly-idyllic weekend trip to the countryside turns into an endless nightmare of traffic jams, revolution, cannibalism, and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.

Throughout this film, we follow a truly unlikeable couple on an endless journey/trip. Who terrorize or are terrorized by all they come across. It gets a bit meta as they know they are in a film. They continually wander into different narratives, scenes, or stories.

They keep coming across more dead people throughout the road and it feels a bit post-apocalyptic at certain points.

The film is episodic that stays with the couple and their various interactions with others. It gets continually ridiculous. As it feels like a stylistic comedy with deeper ramifications with plenty of unexpected philosophy and what feels like satire.

Thought this would be one of his more divisive movies. Where it’s an experimental concoction, but this ends up becoming an almost film. As it was one of Jean-Luc Godard’s films I might actually like and dare I say almost enjoyed it completely.

Though his films fascinate me and keep me coming back to discover. As he or the films usually have something to say or present.

Either that or more commonly he and his films fit the case of the tale of the emperor’s new clothes. Where there is nothing really there, yet people pretend there is, which can be said of a lot of celebrated directors by many people.

One can admit to being more of a fan of Francois Truffaut’s films. His fellow film enthusiast, reviewer, and co-worker at the legendary film magazine Cahiers De Cinema.

Godard is a director I can truly call an auteur. As no matter what there is a discussion to be had at the end of his films and no one can call them simple. There is no other director like him though many have tried. one can see how he has inspired so many.

This film actually feels playful and fun despite the absurdity. As it is most and tends to turn in a dime at times. The first hour has so much craziness but keeps you engaged that when the second half comes along with that same craziness but it starts to feel like a philosophical lecture. Even if he leaves it to the audience to figure out or read into it.

As always this happens just when I was ready to accept and enjoy. He then pulls the rug under you.

Like the recent film TENET at times the soundtrack is louder than the dialogue. Thankfully there are subtitles throughout. Though if they were left out it would rise to the challenge the director seems to desire.

The opening scene is certainly erotic with just the power of words and suggestions.

The film Of course has the legendary amazing tracking shot of the endless traffic jam and what various cars and people are all doing during. While the main couple’s car tries to get along the way. Where there is violence and games It ends brilliantly.

Grade: B

Tag: Agnes Guillemot

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