Le petit soldat

People who worship Godard, in my experience, are usually not French speakers and I think they imagine the dialogs in his films are more successful than they actually are. This film doesn't really flow well but the subject of state sponsored terrorism is interesting and original. However, without Anna Karina, who is simply luminous here at the age of 20, I wouldn't have been able to watch this film all the way through.

This film is generally regarded as the sole clunker from the period when this great director was routinely hitting em out of the park, a span from 1959 to 1966 or, if you need it put less abstractly, from "Breathless" to "Masculine Feminine". The main problem with it is that this most soberly realistic of Godard's films is also one of his dullest and I do not think it is coincidental. Godard is at his best with tongue firmly implanted in cheek and the humor, like good Gallic coffee, copious, strong and black. Also madcap and more than a bit off center. Conversely, in this Cold War political movie I did not laugh once. And a political Godard without his trademark mordant humor, zaniness or quirkiness is like Fritz Lang or Carol Reed on a bad day. If I want serious films about the Franco/Algerian conflict then I'll watch Pontecorvo, for cryin out loud. C plus.

PS...I also think that when a Godard film is not set in Paris, as this one is, then there is a palpable sense of loss, ("Contempt" honorably excepted).

I just saw this film for the first time on TCM. I was appalled to see that there is no video available, nor has Maltin written a summary. Now I regret not having taped it, and hope it will be shown again.

This film, Godard's second at feature-length, was made in 1960. It was subsequently banned by the French government and not commercially released until 1963, when the war in Algeria was over and Algeria had gained its independence. It is sometimes difficult to recall, 41 years after the fact, that the Algerian conflict was then tearing France apart and, had anyone but a WWII hearing like De Gaulle been in charge, probably would have led to civil war.

The lead character is a somewhat reluctant and half-hearted member of a right wing terrorist group, opposing Algerian independence, planning assassinations and tortures of members of left wing terrorist groups supporting Algerian independence. Godard demonstrates that there is really no difference between the two, that they are both morally bankrupt and ultimately nihilistic. Members of both groups are shown with remarkable objectivity--remarkable if you know Godard's own political leanings, which were far to the left, Maoist in fact.

Stylistically the film has a documentary, cinema verite feel. Godard used hand held cameras decades before they came into vogue. The characters seem real, so much so that, except for the beautiful Anna Karina, it is necessary to remind oneself that these are actors.

By the way, probably very few viewers, except those who may have been in France at that time, will know the significance of a scene where, several times in succession, several cars blow their horns "ta ta tum, tum tum." That was a very public code that existed in France at the time and stood for "Algerie Francaise," or. loosely, "Keep Algeria French." A very topical film.

Bruno's compromised, his treacherous position, now there's those who'll make profit, at their volition, to encourage him to shoot, will not entertain dispute, until he's satisfied their will, completed mission. Veronica proves to be, quite a distraction, causes Bruno to evaluate his fractions, as the other side entrap, chain his wrists, to the bath tap, while using torture as their primary transaction. Then a chance to land back in the ladies arms, of the mission he can't have, any more qualms, but subversion has its day, the couple go their separate ways, it's hard to think that Bruno, remained very calm.

As a fan of Claire Denis' Beau Travail in which there are extensive references to Le Petit Soldat, I've been keen to see this film for a while. My expectations were high and after viewing it two days ago I feel like I haven't been let down. I still can't believe that it's made over 40 years ago - it's that fresh, that immediate in its emotional poignancy.

What grand topics Godard is trying to address: do we have ideals? are they more significant than our personal pride? knowing we're powerless, should we just go with the flow? Godard's answers are vague and uncertain, but the manner in which he answers them is vital. His hero knows that he can't win, he doesn't even know which camp he's supposed to be in, but he resists. While he sees his world as quite meaningless, he allows himself to be seduced by beauty and dignity: classical music, Velasquez' grey eyes, photography, Britanny's light, "did I cry?"... In a world where no one can be trusted, he chooses to be his own ally. He finds his comrade in a woman of a different camp - you can read it as either his disillusion with ideology or his faith in love.

The connection between Le Petit Soldat and Beau Travail is so strong that Beau Travail feels like an offspring of Le Petit Soldat. It goes beyond the more obvious references (I have a lot of time ahead of me; maybe freedom begins with remorse; the time for action is over). Both are so true to their point of view that they border on solipsism; both adore the beauty of flesh to the point of fetish (Subor has the most expressive biceps I've ever seen in my life; Gregoire Colin, whose presence bears a striking resemblance to the young Subor, is known as "Gregoire the Magnificent"); and both Godard and Denis are masters at capturing a spontaneity in which no thought can be hidden from the camera. While Godard despairs over a world that is losing its ideals, Denis rediscovers meanings in a world that's supposedly meaningless to begin with. For this reason, I'd recommend watching the two films together at least once.

The beauty and the expressiveness of the film assured that its soul effects can't be achieved in any other media form. The cinematography is invigorating, gritty, and elegant. It's a film that's at the same time dry and lush - dry because of its understated, calm tone(the torture scene!) and lush because of its rich undercurrents. A crispy, translucent film. Its marvels are designed to fade the moment they bloom (Subor and Karina's Spanish salute to each other).

Acting is superb. Subor is a mixture of physical reserve and mental sensitivity. His presence is so edgy and powerful that from time to time you forget he's really as good-looking as any dark and handsome man. Anna Karina's performance is ethereal - her beauty must have inspired Godard to say "woman should not age over 25." Both are elusive and candid, which adds to the dreamlike quality of the film.

If you believe in personal and honest filmmaking, this one is for you. I've seen a number of Godard's movies, but none had drawn me closer to Godard the filmmaker than Le Petit Soldat. In other films he's observant, and in this one he's self-aware. The story is heady, but he narrates in a calm tone, like he's in a negotiation with you. Because of that, you hear every word he says.