Jean-Luc Godard’s scorn reveals all that is possible with cinema

The final third of “Contempt” takes place at the dazzling Casa Malaparte on the island of Capri. Like Godard’s propensity throughout the film, the idyllic location is revered for the ugliness of the characters’ jealousy. Prokosch ends his conquest of Camille, at which point he chases her away to frolic in his sports car killing them both. Godard does not show the wreckage, only the wreckage, which is composed like a crime scene photograph. It’s a stylistically realistic decision (Godard isn’t exactly John Frankenheimer when it comes to vehicle stunt work), and a haunting one. A minute ago they were alive, now they are gone. And because we watched the movie from Paul’s heartbreaking perspective, we felt very little regret. In the end, Paul left the studio, while Lang continued filming. The performance, even though it is polluted and has no artistic value, must go on.

Godard never made a movie of this scale again. He enjoys analyzing the works of Howard Hawks and Alfred Hitchcock, but he doesn’t want to emulate them. He was too scattered for that. He lacks their tough temper and focus. Godard continued the cinematic and changed the vocabulary, creating a language of his own that was inexplicable to those who couldn’t understand Anthony Mann Western well until the sun rose.

Godard likes to declare the death of cinema. He filmed his first eulogy with “Week-end” in 1967, and buried the medium several more times throughout his career, before and after completing his four-hour essay/documentary and a half “History(s) du cinema” in 1998. I never really thought about his entire career because I thought he would last forever, not out of contempt but out of love. with flashing frames that make life worth living. Jean-Luc Godard’s scorn reveals all that is possible with cinema

Fry Electronics Team

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