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.

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?)

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".

It is such a pity that it was not enough for the director to talk about Godard, he also tried to make a film in Godard's style. In my opinion, he was not able to capture the "Godard mood" at all. Instead, the film is executed in a textbook manner, meticulously using Godard's cinematic language like a receipt and that's always a risky move (for example, Gus Van Sant's case with Psycho). Godard is Godard not for using these elements, but because he used them at the right time and in the right way. If this would have been done by breaking new grounds in cinematic language, or even without breaking the mould in such a way BUT finding the right tone, I would have liked the film much more. Godard's world has a sexy, humorous yet tragic atmosphere, where the viewer feels for the characters. To be honest, when watching a Godard movie, I'm always terribly envious that I was not born at the time of Belmondo. Here, I did not feel this longing, sadly. Having said that, the actors are cute and the director seems to be cool and all, judging from interviews, so it may be that I'm just too sentimental. :)

Godard may have been one of the French New Wave's main stars but, as a person, he could be repulsive without trying. Not that the film portrays him as overly selfish or self-centered, but he seems to live in his own mind, and have standards that he switches at his own convenience.

As the film opens, he is 37 and he has just started a romantic involvement with 19 year old exquisitely beautiful wife to be Anne (solidly played by Stacy Martin, who looks very much like Catherine Deneuve at the height of her splendor, only better) . Given that the film is mostly told from Anne's point of view, we get to see Godard's steady mental disintegration and growing loss of touch with reality, as told from her standpoint, while all along she keeps retiring into an observer's position. In light of the fact that the film is based on Anne Wiazemsky's autobiographical account of her relationship with Godard, she emerges from this film with her image apparently far more intact - but also as a bit of a tell-tale who thinks nothing of reducing her former husband's reputation to the lowest possible level.

Physically, Louis Garrel looks like Godard, imitates his famous lisp very well, and his performance is superb, even if the character does nothing to encourage anyone's sympathy, let alone liking. The way he joins the student demonstrations of May 1968, but flees police as soon as he feels that he is in danger; and the way he bends Maoist doctrine to his own take on life, says much about the pitfalls of this once and briefly great director.

Michel Hazanavicius' direction is first class, his screenplay not really. The submarine, Le Redoutable, and the repeatedly broken spectacles are jokes that have worn rather thin by film's end.

Soundtrack is generally vivid and brings back the day, including some lovely music, but there is also some jarring noise, typical of what made Godard so unique in films like MASCULINE FEMININE, A BOUT DE SOUFFLE, LE MÉPRIS.

Ultimately, it is a movie for lovers of the French cinema. I am one, and I am grateful for what I learned from it. That said, LE REDOUTABLE/GODARD MON AMOUR makes for some rather uncomfortable viewing because of Godard's disintegration. On the other hand, thank God Stacy Martin is so beautiful, with her around I can forgive any flaws in the movie.