Godard, amor mío

Movies about real historical events and persons from everyday perspective are cool.

This one's about the legendary French director Jean-Luc Godard (played by Louis Garrel) reaching middle-age and marrying a young girl (Stacy Martin). It turns out Goddard, idolized by movie lovers and critcs, turns out to be the immature one in the relationship.

Like any good movie about relationships should, "Le redoutable" has both moments of laughter and soul wrenching drama. But above all, this is a character portrait of a increasingly domineering and unpleasant man.

Writer-director Michel Hazanavicius approaches the study of the character from the deep psychological standpoint. He does not offer some easy and populist way of explaining the reasons behind tormented genius's growing disagreeableness over time.

Just like in real life, there's no one single cause for how one behaves, especially not something external that would be easy to blame and would adequately summarize everything that's going on in human soul (bad influence, broken heart etc).

If the viewer is not willing or able to go that deep, there's still enough going on to justify the time spent. The movie is humorous - especially in the first half - and offers a vivid overview about how destructive immature people can become in loving relationship if they wrestle with power and intimacy issues.

In Godard's character, I found much of myself and what I've had to wrestle with in relationships - and still have to. So watching it was a bit depressing for me, for probably nobody enjoys seeing one's ow faults so clearly from aside (in others).

The second half turns increasingly darker in mood and get exhausting because there's basically only one situation filling the story which gets repeated over and over again. The lack of variety is the reason of me hesitating to give it higher score than 7 out of 10.

The story centers mostly on Godard and young wife, Anne Wiazemsky, and their performances are really good. These are demanding roles because the marital discord doesn't grow from one explosive conflict to another but accumulating stress and tension between two people, expressed mostly in subtle bodily or facial impressions that the camera eagerly catches.

This kind of inner burning based suspense is surely difficult to build on screen, and both stars are really good at it (with the help of the director, of course).

I enjoyed Stacy Martin's performance especially, for in a way, she has fewer resources to build the character than Garrel whose Godard does most of the talking.

Martin gives a beautifully restrained but emotive performance as the ever-suffering wife. She's the emotional backbone of the story and probably the one thing you'll remember the best from the movie.

Based on the memoir of Anne Wiazemsky, who became a novelist and published the book on her life with French cinema genius in 2015. Godard lives on, but she passed away just weeks ago, October 5th this year, succumbing to battle with breast cancer at the age of 70.

Michel Hazanavicius is best known for "The Artist" that got nominated for ten Oscars, and won five, in 2012, including for the best movie and director.

First, I can't think of any other film that treats the life of a director, except for Greenaway's Eisenstein In Guanajuato, and the far better known Chaplin. To have his life immortalized this way, a director would have to be a really fascinating person, and I doubt Godard is.

Second, we see how terribly self-absorbed he is throughout. He seems not to care for any of the people around him. The scene in the restaurant when he insults the old man and his wife should have ended in a fist fight, but cooler heads prevailed. Anne wants to make a film with Marco Ferreri--it will be her eleventh--but Godard objects violently: there's too much nudity. This is his wife who will be seen naked, and he forces Ferreri to shoot her with clothes on. Louis Garrel is especially fine in this scene, while Stacy Martin turns in a performance of some skill which makes me forget about the awful film she did with von Trier.

The best for last: about one hour into the story, we get Godard, Anne, the Bambans, Michel Cournot and the driver packed into a car headed to Paris (they'd have gone by train, but for the general strike). Cournot is down because his first and only film hasn't been shown at Cannes, Godard throws some gratuitous insults at him, and the Bambans join in. It's the ultimate bad car trip.

This bizarre mélange of genres--documentary, comedy, tell-all from a former lover--views above all like a hit job. This is the second film I encountered this week which focuses on a disgruntled former girlfriend´s unhappiness that her extraordinary lover turned out not to be entirely normal. (The other one was Mad to be Normal, about Scottish psychiatrist R.D. Laing). I find this sort of depiction of Godard, on the one hand, and R. D. Laing, on the other, to be disagreeable in the extreme. I have no difficulty believing that men with big personalities and egos are difficult to have relationships with. But to make an entire film about what a cad ¨the cad¨ is alleged to be (by a former lover) strikes me as an unvarnished act of revenge. Nietzsche (and probably Godard, since he has always liked Nietzsche) would surely identify in this production a consummate expression of ¨ressentiment¨.

It seems to me that there is something rather puerile about falling in love with someone who is an artist (touted by many as a creative genius) and then expecting him to suddenly be the average-joe husband and dad (in the case of R.D. Laing). How could that possibly turn out to be the case? It´s a package deal. You get the extraordinarily wonderful with the extraordinarily difficult to live with. Needless to say, I do not think well of the female protagonist here, who seems to have wanted to profit from what she viewed as her victimhood. Ugh.

I also found confusing that the director tried to imitate Godard´s style--part of the time, but not all of the time--while also trashing him. A confusing and unsatisfying creation, in my opinion. The comedic elements pretty much disappeared by the end, when all that remains is the whiny girlfriend and what is depicted as Godard´s descent into Maoist Marxism.

Godard haters will love this thrashing.

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.

LE REDOUTABLE , Michel Hazanavicius, In Competition at Cannes 2017. The French title refers to a formidable opponent which seems very appropriate considering who this story is about. image2.jpeg This films comes here with high expectations because the subject of the film is Jean-Luc Godard, arguably the most famous and surely the most controversial French film director of the XX. century and until now nobody has ventured or dared to make a biopic about the cantankerous 86 year old cinéaste.

Michel Havanacius, director of the 2011 Oscar winning film The Artist has now taken that step and cast popular fast rising actor Louis Garrel as his Godard. The picture focuses on the making of La Chinoise in 1967 which was a major turning point in Godard's career and featured young actress Anne Wiazemsky whom Godard married after the making of that film. He was then 36 and she was nineteen. It was a stormy marriage following his first marriage to another of his stars, Anna Karina, and only lasted two years when Godard was at the peak of his fame and also the acme of his unbridled arrogance ...which is emphatically presented throughout. The film is basically a study of the collapse of that marriage and Godard's embracing of Maoist revolutionary politics which completely altered his career trajectory and sharply divided his fan base while destroying his marriage as well. Hazanavicius most successfully captures the atmosphere of the time and the year that this Cannes film festival was closed down by Godard and other New Wavers as a protest against the oppression of the government of Degaulle. He also captures the purposeful naughtiness of Godard films by throwing in female and female frontal nudity arbitrarily, clearly meant as a sly comment rather than a titillation. Other Godardian devices such as obscene graffiti and inter-titles and jump cuts add to the nouvelle vague flavor. Wiazemsky is effectively played played by actress Stacy Martin who was featured alongside Charlotte Gainsbourg in Lars Von Trier's Nymphomaniac a few years back. Louis Garrel was a good choice to impersonate Godard and turns in a commendable job even if it is more of an impersonation than entering the skin of his subject -- which, considering the type of slippery personality Godard actually is, would be an almost impossible job.

This is overall a rather light and breezy treatment of what could have been a very knotty and heavy handed film in less skillful hands. Hazanavicius has the right touch for this touchy subject Jean-Luc himself has called the film "a stupid, stupid, idea" -- one would hardly expect him to call any film about himself anything else. For Nouvelle Vague and Godard buffs this film is essential "reading".