Detective

This movie is said to have been filmed by Godard on commission from producer Alain Sarde, but it's by no means your ordinary "commissioned movie":it does boast a cast with well-known stars (at least in France) and it retains all the crime movie's stereotypes ( as gangsters, guns, boxers, girls, moneys changing hands...), but all of them are put together in a unique and mesmerizing way. Think of those exploded views you sometimes find in technical magazines: more often than not you can hardly tell what the represented object is supposed to be, nevertheless you always lose yourself gazing at those craftily drawn little pieces, until the object itself is deprived of any functional meaning and become only a sheer, pure sign. Though it's still possible to keep track of the plot and to draw something like a sequential chain going through the scenes, doing so is the best way to miss what this movie have really to offer: a collection of beautifully shot "vignettes", varying from amusing (Jean-Pierre Léaud freaking out in various disguises) to sublime (the "breast boxing" scene), each one to be tasted as a separate entity. There are plenty of quotes from books and other movies too, to the entertainment of the most encyclopedic among the audience (not that these quotes are introduced in the most subtle way: often the characters reads them from the actual books and you can easy spot the titles on screen! ) . Let's face it: it may be not a masterpiece, since sometimes the screenplay seems to have been conceived with the only aim of pushing you away from the screen, but the persevering viewer will be rewarded with some endearing little gems.

This is why I love Godard. He turned a 'commercial' project he did in order to get financing for "Hail Mary" into one of his most enthralling late works, a sleeker, leaner, funnier, lighter version of the sort of film Godard made after the 60's. The film follows four different 'stories' in the Hotel Concorde Saint-Lazare in Paris, where the entire film is set. Something of a deconstruction of the detective film or film-noir on paper, but the film is more formally interesting than it is story-wise (though its 'narrative' is often very amusing and overall very entertaining). Although critical reviews of "Detective" seem to be positive (all the ones I can find anyway, including Variety and the New York Times among others), the film is overall not too popular, and from my experience not too well-liked by Godard fans either. Shame as well because the fact that "Detective" combines some of the zip and light humor of Godard's early work with the more experimental sensibilities of later Godard films doesn't mean this is in any way lacking as a filmic experiment. It's gorgeously-shot with superb, intricate mise-en-scène, and features some of the most interesting and complex editing in any Godard film, but what really steals the show is the sound, which is an entire world all on its own. The visual splendor of the film is not only complimented, but overshadowed by the creative sound editing and mixing, genius use of music, and aural gags and puns. Dedicated to Edgar G. Ulmer, Clint Eastwood, and John Cassavetes, "Detective" is one of Godard's best, and likely his most criminally under-appreciated. It does ask for a patient, observant audience willing to listen carefully, but rewards that patience with great comic energy and some fascinating and beautiful aural experimentation. One of the best casts Godard ever worked with as well.

Détective follows two parallel stories happening in the same hotel in Paris. One tells the story of a detective who sleeps in a room where a mysterious character named 'the Prince' was killed and he is positive on solving the case; meanwhile a wrestling trainer tries to pay his debts to the mafia. The film is deliberately incomprehensible though very entertaining for film noir lovers and occasionally funny.

What is best in the film is the marvelous direction from Godard, who returns to a filmmaking that is more reminiscent of his 60's work than anything that came after this film, paying a homage to film noir as he did twenty years before to B-movies with Alphaville, although less successfully here. The camera doesn't move in this film and the shots are all very nicely done.

As for what the story regards, the script offers an engaging story that starts off a bit too slowly and an interesting character (a shame it's only one) who has to deal with some more compelling relationships as Nathalie Baye's character is caught between two men. The film has some of those Godardian undescriptible scenes to which you laugh or have feelings to without quite knowing how do they fit into a whole.

On the downhill, we have a film that actually gives no depth to their characters (except for Baye's) and whose satirical tones aren't as strong as you would expect. It has that pretentiousness that Godard usually manages to hide in his other movies and the whole film at the end feels as a mere direction exercise from his part, but if it was just a direction exercise, it is a great one.

Détective is a satirical film-noir with a fantastic direction, cinematography and editing, some witty scenes and a refreshing unresolved mystery.

Rating: 3/5.

Like zetes stated, this was supposed to be Godard's "commercial" movie. However, it actually feels like his least commercial film of the ones released since 1980. Ever the prankster, Godard stocks the film to the brim with pratfalls, movie quotes and other allusions.

It's hard to imagine how it is watching this in the theater. The film is so multi-layered that it's impossible to take in at one time.

I'm not sure what his stance is on the home video vs. theater debate. A movie so dense with quotes is almost destined to be better viewed at home. There are multiple scenes where if you pay attention to one thing, you wind up missing some other detail. Even after multiple viewings. I had to watch this more times than any of the other Godard film currently in print just to make sure I caught enough of the details.

As awesome technically as the film is, it somehow feels like a rehash of what he already did with First Name Carmen, Passion and Hail Mary. The fact that this was a commission may mean his heart wasn't quite in it. You could never accuse him of that with most of his other films.

This film demonstrates editing, structure and mis-en-scene perfectly. It's clear that with every scene, Godard has thought carefully about positioning and in a few shots, has cleverly manipulated the use of mirrors or glass. The camera never moves in the film – it stays still in every sequence, and so the positioning of the characters is paramount. Instead of the camera moving to capture all the characters on screen, many scenes involve the characters moving themselves after an entrance of a another person to ensure that facial expressions can be seen. Music also plays a huge part in this film, as it indicates moments of tension, or importance, such as when the audience sees 'la famille' for the first time in the film. Background noise is also evident, with many layers of sound to the film, such as background traffic noise from the open window, as well as the piano player in the café. The scenes themselves and the cleverness from behind the camera make this film worth watching. However, the plot itself is weak, with many superfluous characters, and bizarre situations (such as the boxer and 'Mister Jim' with the two girls). The many different characters and their individual situations are closely linked, through their interaction with each other, but the ending is immensely unsatisfactory.