GODARD, MON AMOUR: squandering artistic genius with political dilletantism

Louis Garrel in A scene from Michel Hazanavicious’s GODARD, MON AMOUR, playing at the 2018 San Francisco International Film Festival, April 4 – 17, 2018. Courtesy of SFFILM.

Godard, Mon Amour is a bitingly funny portrait of flawed genius. Michel Hazanavicius (The Artist) pays tribute to the genius of filmmaker Jean-Luc Godard’s early career while satirizing Godard’s personal excesses.

Godard, Mon Amour traces the three pivotal years after Godard married Anne Wiazemsky, the 19-year-old star of his La Chinoise. Godard (Louis Garrel) is age 37. In the preceding seven years he has helped revolutionize cinema as a leader of the French New Wave. He has made three masterpieces: Breathless, Contempt and Band of Outsiders. This is the Godard of “All you need to make a movie is a girl and a gun.”

But now Godard has become a doctrinaire Maoist and rejects his past work. He sees himself as a thought leader of revolutionary politics – but that is a delusion. He’s just a political amateur, a poseur, a tourist.

Stacy Martin (center) in a scene from Michel Hazanavicious’s GODARD, MON AMOUR, playing at the 2018 San Francisco International Film Festival, April 4 – 17, 2018. Courtesy of SFFILM.

“Godard is dead”, Godard declaims. But young Anne (Stacy Martin) has hitched her star to the old Godard, the master of cinematic innovation and rock star, not this new dogmatic Godard.

This is also a snapshot of 1967, when many on the French Left believed that revolution in France was around the corner.  By 1969, it was apparent to virtually everyone that this had been a mirage, that revolution was not going to happen.  To everyone but Godard, who stubbornly stuck with his dogma.

Louis Garrel, his dreamboat looks glammed down with Godard’s bald spot, is often very funny as he deadpans his way through Godard’s pretensions.  In Godard, Mon Amour, Godard’s thinking has become so devoid of humor, nuance, texture and ambiguity that his art has become one-dimensional and boring.  Indeed, I have found all of the Godard films since 1967’s Weekend to range from disappointing to completely unwatchable.  Godard is alive at age 87 and still making movies today – and they all suck.

In his very biting send-up of Godard’s personal failings, Michel Hazanavicius pays tribute to Godard’s groundbreaking cinematic techniques.  We see jump cuts, breaking the fourth wall, shifting between color and negative imagery,
subtitling the characters’ interior thoughts over their spoken dialogue and references to earlier movies.  It’s all very witty.

There’s even a motif of repeatedly broken spectacles as an jomage to Woody Allen’s Take the Money and Run.  In one of the more obvious jokes, Godard and Anne debate whether either would choose to appear nude in a movie while they walk around their room in complete, full-frontal nudity.

The more of Godard’s films you have seen, the more enjoyable you will find Godard, Mon Amour. If you don’t get the allusions to Godard’s filmmaking, you may find the protagonist of Godard, Mon Amour to be miserably tedious.  I saw Godard, Mon Amour at the 2018 San Francisco International Film Festival (SFFILM). It opens this Friday in the Bay Area.

DVD of the Week: The Artist

If you still haven’t seen the Best Picture Oscar-winning The Artist, you don’t have any excuse because it’s now available on DVD.  It’s a magical romance that writer-director Michel Hazanavicius gives us through the highly original choice of an almost silent film.  Set in Hollywood from 1927 through 1929, it is the story of a silent film star who is left behind by the startlingly immediate transition to talking pictures.

The French actor Jean Dujardin won the Best Actor Oscar as the silent star, a charismatic and ever-playful guy whose career is trapped by the shackles of his own vanity.  While on top, he treats an ambitious movie extra (Berenice Bejo) with kindness; she remembers when she becomes a star of the talkies.

Dujardin’s star, whose films resemble those of Douglas Fairbanks, Sr.,  is a joker with a knack for the grand gesture.  He also has an adorable Jack Russell terrier that serves as his companion and co-star.

Hazanavicius is so skillful that audiences that have never seen a silent film soon become enraptured by the story and invested in the fates of the characters.  It’s a visually and emotionally satisfying film.

John Goodman and James Cromwell are excellent in supporting roles. 

(BTW, in real life, Berenice Bejo has two children with Michel Hazanavicius.)

[youtube:http://www.youtube.com/watch?v=XvifS2QOun4]

And, courtesy of photographica in the Movie Gourmet’s LA bureau, here is co-star Uggie the Jack Russell terrier celebrating Uggie Day in Los Angeles.

2011 in Movies: breakthroughs

Ryan Gosling in Nicholas Winding Refn's DRIVE

One of the most rewarding aspects of watching movies is seeing the emergence of new talent.  Here are some pleasant surprises from the past year.

1.  Denis Villenueve:  Because Incendies is anything but stagey, you can’t tell that this little known French-Canadian director adapted the screenplay from a play. In fact, he created the most gripping film of the year.

2.  Jessica Chastain:  She’s on everybody’s “breakthrough” list for a damn good reason. First, she delivered a fine performance as an enabling 1950s mom in the most coherent part of The Tree of Life.  She followed that with a riveting performance as a 1960s Mossad agent (the younger version of Helen Mirren’s character) in the thriller The Debt.  In Take Shelter, she plays a well-grounded housewife who must deal with a mentally disintegrating husband.  She won critical praise for the trashy but aspiring housewife in a film I haven’t seen – The Help.  She’s a tough cop in The Texas Killing Fields.  And then she’s in Ralph Fiennes’ adaptation of Shakespeare’s Coriolanus.

Six movies in six months – that’s quite a way to start a career. And she’s at the top of her game in all of them, playing soft and tough, brittle and sexy, action and romance.

3.  Nicholas Winding Refn:  With apologies to Ryan Gosling, Refn is the real star of the vivid and compelling Drive.  He has a great eye and a great sense of pacing, and could produce a masterpiece with the right material.

4.  Michel Hazanavicius:  He came out of nowhere to strike gold with The Artist.  Who would think to make a silent film today?  Everyone will want to see what he can come up with next.

5.  Shailene Woodley:  Her performance is absolutely essential to the success of The Descendants.  It’s not just that she perfectly plays a bratty teenager, but that we can see that some of her brattiness is hormonal and some of it is entirely voluntary and manipulative.  Woodley had to convincingly play a character who is at times self-centered and shallow, but who can rally and reach within herself to serve as the family glue and support her dad and little sister.

6.  Ben Ripley:   The key to Source Code is a breakthrough screenplay by Ben Ripley.  In a year with at least some smart action films, Ripley’s is the smartest.  He came up with the scifi premise that supersoldier Jake Gyllenhaal can inhabit the brain of a terrorism victim for the same 8 minutes – over and over again.  Each time, he has 8 minutes to seek more clues. Can he build the clues into a solution and prevent the terrorist atrocity?  Ripley had us on the edge of our seats.

7.  Ryan Gosling:  He has already established himself as one of our best actors (Half Nelson, All Good Things, Blue Valentine), so why is he on this list?  Because this year he has broken out of quirky roles in indies and has carried more mainstream films.  He proved that he can play an action star (Drive) and also be the funniest guy in a Steve Carell comedy (Stupid Crazy Love).  And he proved that he can carry a George Clooney movie as the male lead holding his own with Philip Seymour Hoffman and Paul Giamatti (The Ides of March).  He could be looking at a Clooney/Hanks/Nicholson career.

The Artist: silent yet magical

The Artist is a magical romance that writer-director Michel Hazanavicius gives us through the highly original choice of an almost silent film.  Set in Hollywood from 1927 through 1929, it is the story of a silent film star who is left behind by the startlingly immediate transition to talking pictures.

The French actor Jean Dujardin won Cannes’ best actor award as the silent star, a charismatic and ever-playful guy whose career is trapped by the shackles of his own vanity.  While on top, he treats an ambitious movie extra (Berenice Bejo) with kindness; she remembers when she becomes a star of the talkies.

Dujardin’s star, whose films resemble those of Douglas Fairbanks, Sr.,  is a joker with a knack for the grand gesture.  He also has an adorable Jack Russell terrier that serves as his companion and co-star.

Hazanavicius is so skillful that audiences that have never seen a silent film soon become enraptured by the story and invested in the fates of the characters.  It’s a visually and emotionally satisfying film.

John Goodman and James Cromwell are excellent in supporting roles. 

(BTW, in real life, Berenice Bejo has two children with Michel Hazanavicius.)

[youtube:http://www.youtube.com/watch?v=XvifS2QOun4]