Godard Mon Amour

2017

Action / Biography / Comedy / Drama / Romance

3
Rotten Tomatoes Critics - Rotten 54%
Rotten Tomatoes Audience - Spilled 53%
IMDb Rating 6.6 10 4129

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Synopsis


Uploaded By: FREEMAN
September 10, 2018 at 04:03 AM

Cast

Stacy Martin as Anne Wiazemsky
Bérénice Bejo as Michèle Rosier
Louis Garrel as Jean-Luc Godard
Michel Hazanavicius as L'un des narrateurs
720p.BLU 1080p.BLU
916.39 MB
1280*682
French 2.0
R
23.976 fps
1 hr 47 min
P/S 4 / 2
1.73 GB
1920*1024
French 2.0
R
23.976 fps
1 hr 47 min
P/S 3 / 7

Movie Reviews

Reviewed by euroGary 7 / 10

A lot more enjoyable than I expected

At the beginning of 1968 Jean-Luc Godard is one of the most highly-respected directors working in French-language cinema. He is influential and admired. He has also just married Anne Wiazemsky, a teenage actress seventeen years his junior. He has the more arty end of the film world at his feet, yet he is feeling restless. Then erupt the Paris student protests which sweep Godard up in their revolutionary fervour. He becomes a supporter of the movement, and his opinions are in turn sought out by the young leaders (although, in the best tradition of ideologues everywhere, they also spend a large amount of their time arguing). As his marriage to Wiazemsky suffers, Godard heads further down what some might describe as a Maoist path, culminating - for this film's purposes - in the establishment of a sort of film-making collective without heirarchy - Godard may be the director, but his artistic vision is subordinate to the will of the workers. Hah! From the plot description this might seem like a terribly gloomy film; far from it. It is actually very playful: as Godard, Louis Garrel has to deliver directly to camera the line "I bet if you told an actor to say actors are dumb, he would do it"; and a scene where Godard and Wiazemsky (played by the frequently-undraped Stacy Martin) discuss film directors' enthusiasm for nude scenes is played with both actors naked. How accurate Garrel's portrayal is I am unable to say, but for an actor who has rarely before displayed any comedy chops he provides a fine, subtly comic turn here; I particularly like the hangdog look his Godard at times displays.

I am not massively familiar with either Godard or his work; I have little patience with pretention. But this film makes the famed auteur a more accessible - sometimes rather likeable - individual, without glossing over his faults (rudeness; arrogance; a controlling element in his relationship with Wiazemsky). Whether it is a fair representation of him I do not know, but it makes for a very interesting film.

Reviewed by ferdinand1932 9 / 10

Formidable

Godard is not the sort of typical subject for a film. To say he lacks empathy, that he assaults the cosy preconceptions of much cinema and its audiences, is well-known.

At the time of this film he was undergoing a transition: he renounced his break-through films, he was intensely political in that celebrity French style which is often more pose and belles-lettres, than real accomplishment, a fact made clear in this film.

To present him in that anodyne fashion which Hollywood does, which is essential deceitful, as say "A Beautiful Mind" and many other movies, would be truly dishonest but fortunately this film does not do that. It is quite a good presentation of that period, both socially-politically and personally.

The film's style naturally, almost logically, had to be á la Godard, in some way, and it works without being pastiche. At times it pushes a little far but mostly enough to give that sense of how Godard's films looked at that time and before.

This is especially true of the interiors, a favorite setting and device of Godard's in the 1960s, where he had couples discuss and debate as they moved about apartments. Here the famous sequence in "Contempt" when Piccoli and Bardot's marriage ended is almost reprised as Godard and Wiazemsky's relationship shatters. The inspirational touch in this film was to add Richard Strauss's luscious but fatalistic song, Im Abendrot (At Sunset), over this sequence.

The performances are all done well. A little more lisp from Garrel's Godard perhaps, but really, technically and the overall production, the whole movie looks just right.

Well worth the time and a reminder that once films, and cinema generally, actually mattered socially and politically.

Reviewed by Richard Chatten 5 / 10

Pierrot le Mépris

Non-admirers of Jean-Luc Godard probably won't be bothering to watch this film in the first place, but I'm sure they'd be reasonably satisfied with the hatchet job that author Anne Wiazemsky and director Michel Hazanavicius have done on Godard, since even most of his admirers as a filmmaker and political guru probably already had a pretty bleak estimation of him as a human being.

Being based on a 2015 memoir by Godard's long estranged ex-wife, the late Anne Wiazemsky (1947-2017), the film is inevitably going to be as much about her as him, and its depiction of him even more inevitably from her jaundiced viewpoint. This also unfortunately means that the film concentrates on their time together between their marriage in 1967 and their separation in 1970, when both his gifts as a filmmaker and passion for cinema had recently curdled; although there was still enough of the film nerd in him to claim with a straight face (in probably the film's best scene) the legacy of Jerry Lewis more worthwhile than that of Jean Renoir. (I wonder how Godard took the news - if it ever reached him - of Lewis's later enthusiasm for Reagan and Trump.)

During his previous marriage to Anna Karina he was probably just as difficult a husband but hadn't become the politically doctrinaire bore and boor that Wiazemsky had to deal with (she portrays him as self-centred and neglectful rather than abusive). Godard's admirers at the time and since have tended to excuse the calamitous decline in the quality of his films after 1965 as politically justified, since they saw the unwatchable screeds he was now churning out as the legitimate expression of his commitment to "make films politically" by no longer making them entertaining rather than because he'd simply lost it.

Louis Garrel gives an energetic performance in the lead, but is too tall and good looking (he actually looks more like Jean-Pierre Léaud), fails to capture the nasal voice familiar from Godard's own films, his perennial 5 o'clock shadow has become designer stubble and then a full beard by the time the film ends; and he just isn't as weird and inscrutable as the man himself remains to this day.

Hazanavicius throughout lovingly recreates the look of Godard's early 60's films when he was in his prime, but treats him more as a comical figure like Woody Allen, complete with the running joke lifted from 'Take the Money and Run' in which his glasses keep getting broken and the admirer who like those in 'Stardust Memories' wishes he'd make another "funny film". (Not that Godard's pre-1968 films were all light-hearted bon-bons by any stretch of the imagination. 'Le Petit Soldat' and 'Les Carabiniers', anyone?)

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