La china

Not an easy film to comment on, or even appreciate, given its overt political content - but also the fact that I watched it, without the benefit of English subtitles, on French TV (amusingly, the French ones which accompanied the screening could hardly keep up with Godard's typically loquacious script!); unfortunately, my reception of this cable channel - which has been showing some pretty good, even rare, titles for years - hasn't been perfect in recent times...but, in spite of all this, I still couldn't afford to miss out on one of Godard's most famous films, right?

Anyway, the director's best and worst qualities are well in evidence here: with an obvious emphasis on the color red, it's visually stimulating, indeed overwhelming (as, frustratingly, Godard often puts text in his images while the characters are speaking!), and filled with both sight and sound gags (the French song about Mao and the 'little red book' is hysterical), in-jokes (Godard's voice is often heard indistinctly interviewing the characters) and innumerable pop-culture references. However, it's undeniably exhausting to follow in detail, with the relentless spouting of Communist ideology and wordplay sometimes going over my head in the process...and, by the end, it all sort of runs out of steam anyway - what with most of the characters giving up on their enclosed life-style of theorizing and taking up menial jobs instead, apparently to put in practice what they had so far merely preached - or something similarly vague...er...vaguely similar (why, it's gotten me mouthing abstractions, now!). The young cast is headed by popular "Nouvelle Vague" (and, apparently, politically-involved) stars such as Jean-Pierre Leaud, Anne Wiazemsky - who, for a while, became Mrs. Godard - and Juliet Berto.

Still, the film's anarchic, anything-goes attitude provides a good deal of amusement throughout; especially enjoyable is Wiazemsky's naïve interview, aboard a train, of a noted literary figure who turned conservative (which rebounds on herself and exposes her own political confusion!) and her own botched assassination attempt towards the end. Despite its necessarily heavy-going and obviously dated nature, LA CHINOISE - which has been released on DVD, though not in R1 land - is not quite the embarrassment that was, say, WHAT STALIN DID TO WOMEN (1969; which I watched only a few days ago)...and it's unfortunate that, for the next decade or so, Godard renounced mainstream cinema for underground political film-making (from which period I still have a couple of titles, British SOUNDS [1969] and ICI ET AILLEURS [1975], lying in my "Unwatched Films On VHS" pile)!

With Jean-Luc Godard's La Chinoise, I think I'm gonna have to play the historical ignorance card. My knowledge of communism/ Marxism/Leninism and most of the other "-isms" in this particular endeavor as well as my knowledge of the social revolution that occurred in France during the sixties is depressingly limited. Sorry, I'm a westerner victim to a public school education.

Godard's La Chinoise is, thus far, his most insufferable endeavor of all his French New Wave films. It's one of the lamest, squarest satires I have yet to see, insufferably telling the same joke (at least I think it's supposed to be funny) of young peoples' devotion to communism and such) over and over, and centering on characters telling having the same conversations over and over again.

The film details the relationship between a group of young revolutionaries (Jean-Pierre Léaud, Juliet Berto, and Anne Wiazemsky) in 1960 France that discuss their fondness for the teachings of Karl Marx, Vladimir Lenin, Mao Zedong, among other key figures that promoted their own ideas, as well as regarding communism with such fascination. Whether we're supposed to marvel at the vapidness of the characters or support them as they anxiously discover and embrace numerous different ways of thinking is beyond me. It seems with every scene Godard wants us to think differently of these characters, and by the end, I have no idea what to take away from the characters or their groggy conversations.

Thankfully, we have the use of Raoul Coutard's inimitable cinematography and Godard's fascinating pop-art style to marvel at, making La Chinoise a stimulating visual experience. In a Godard film that often feels repetitive and muddled, the visuals take prominence, and Godard shows his appreciation for bold color as well as pop-art once more with this effort. The whole thing is attractive if, like its characters, feels superficial in the long-run.

Having said all that, I can still see how La Chinoise was a daring work for 1967 France. I've already spoke quite a bit about how Godard defied popular cinematic convention, but with La Chinoise and his later, ore political works, he challenged majority viewpoints it seems and became a voice for a generation in many regards. What went from bourgeois, coffee shop/film club banter found a home inside a film, one that defied norms of cinema up until this point. The bright colors, the enthusiastic use of title-cards, and characters showing their appreciation for complex political theory all seemed to connect with mainstream audiences.

However, what about people with no background as to this time period? Did Godard think this film would go on to be an oddity for French cinema? What about for those with no idea as to Leftist thinking or the figures the film name-drops so frequently? This is where I play the ignorance card; La Chinoise doesn't provide us with any kind of backstory or precedent to those unsure of the time period. Because of this, it's difficult to catch on if you're just a stray viewer.

The only idea I can bring to La Chinoise is it's a clever joke on Godard's behalf to try and gain access to the minds of these Leftist thinkers and get on their side by communicating to them, using "-isms" they'll surely know how to use, while ultimately making fun of them. These are characters that have no idea how political empires or divisions operate, so they stew in their own blissful ignorance (kind of like me in this case), acting as if they have the answers to society's problems by proposing ideology and not thinking twice if it sticks or not.

If I'm completely off, excuse my ignorance. Again, just a public school-educated westerner passing by.

Starring: Jean-Pierre Léaud, Juliet Berto, and Anne Wiazemsky. Directed by: Jean-Luc Godard.

In Japan, La Choise was put on the market as DVD in last year. Although I obtained to view it after some hesitation, the work by Godard in 1967 was brought to very beautiful digitized pictures. About four decades ago, I remembered having seen the poster that was stuck on the wall filled in the graffiti of a political slogan in the movie research club room of an university, although I did not view this work itself. In the poster, Anne Wiazemsky of makeup of Red Guard, wearing the Mao cap and the Mao jacket, hanged up Little Red Book highly with the right hand. The background of the poster was cranberry red. In this movie, the color of white and red is used for symmetry as metaphor. Former suggests bourgeois communism in Western countries, and latter suggests Maoism.

A movie starts in the white mansion house in the Paris suburbs. To study Maoism, the five women and men congregate to live a communal life in residence with a white interior and exterior wall that elaborated the intention on the furniture of a bourgeois hobby. We scoped out the setting for Beijing Weekly Report, Mao cap, and much Little Red Book. Those movie property emboss petite bourgeois radicalism. Although Godard was disgusted with the bourgeois Western communism, zeitgeist at the time shared a similar perspective between the young intelligentsia and students having the leftist ideology of Western Europe. The energy in such a spirit of the age was committed to the Maoism, and praised the Cultural Revolution. In Western countries, it was only catastrophe and It is few persons' sacrifice and ended. When on the train Anne Wiazemsky and Professor Francis Jeanson debate the revolution, she sits down toward a direction of movement against the background of the train window, but he sits down conversely. We know the history that the train goes to the destination of violence, destruction, and genocide. Although Godard in those days must have sat down on the same seat of Anne, of course, probably, he must have got off without going to the terminal station. The scene of the conversation in that train suggests ambivalence of Godard himself. In 1968 of the next year when this film-making was done, we encountered The Paris May Revolution. It passed away after febrile delirium. Almost all young intelligentsia and students of those days in the Western countries as well as Godard must have got off. I did so.

When about four decades have passed away, we now know The Cultural Revolution in China as a struggle for power at Beijing Zhongnanhai, Vietnam War as a southing to occupy by North Vietnam, a genocide in The Cultural Revolution in China, a genocide by the Pol Pot Administration of Maoism, and also collapse of communism itself. I can now view this movie calmly.

La Chinoise, possibly Godard's most political work, is very much a film of its time. The mid-1960s was a period of great social change and political tension. America was at war with Vietnam, relations between Russia and the West were growing ever cooler, and the Far East was awakening to the hymn of the Chinese cultural revolution. Nearer to home, there was increasing tension between the French government, public-sector workers and the student population, which would come to a head in the following year with the student riots. It would have been more surprising if a French film director had not created a film like La Chinoise.

Here, Godard's method of film-making is at its most primitive and extreme. In a sense, it is hardly a film at all, but a series of sketches nailed crudely together, interspersed with some pretty wild pop-art like imagery. The end result is raggedy, colourful, a bit rough round the edges, but also quite witty.

It is not clear from this film where Godard's political allegiances lie. We can see that he is against the hypocrisy of the Amercain interventionalist policy, which he suggests are derived from imperialistic motives. However, it is less certain where he stands with regard to the Maoist communist ideal. The discussion between the students appears incredibly naïve, didactic, to the point of self-mockery. And the fact that the students are evidently from a middle class background seems to further underline the contradiction between their personal circumstances and their apparently deeply held beliefs.

It is probably safest to regard La Chinoise as Godard's view of how students consider the politics of the time rather than as a portrayal of his own political views. With that in mind, the film reads as a very perceptive study of the naivety of young adults. For these people, freed from the need to work for a living as they pursue their studies in comfortable surroundings, it is easy to contrive a woolly-minded simplistic picture of the world, and to believe that a few bombs in a few school classrooms will solve everything. As the film reveals in its final segment, the dream ends as soon as the degree course has ended. Godard seems consciously to be admitting that his film will change nothing but that it is nonetheless valuable to at least make his statement.

In 1967, Jean-Luc Godard was sort of on a precipice of his career- right from the genre-bending experimental films that put him as a bizarre art-house hallmark, right before stepping off into going even further, and becoming a full-blown Maoist. How much of what he felt or thought influenced La Chinoise I can't say (never read a biography), but what I can sense from this film is the sense of an inner-contradiction working itself out in the form of a film that is playful and harsh, visually vibrant and emotionally subtle, if not present at all, and a documentary at the same time as a piece of deranged pop theater. In fact, it's a pseudo-documentary, and it's one of the most lucid films that Godard ever conceived, but more than anything La Chinoise acts as a counterpoint to hardcore, fundamental terrorist ideology. I can't be sure what side Godard would take, the young girl played by Wiazemsky who thinks the only way she can go past the reading and the discussion is to go to and start something as a working-class bomb chucker, or the young chemist who decides to drop out of the 'game' of sorts when he keeps seeing that she (Wiazemsky's Veronique, the same placid features which made her tragic in Au hasard Balthazard here make her almost psychotic) doesn't have a real grasp on what she or the other radicals are talking about.

Godard's film is packed with attitude though, so one can't see this as being something of a communist cautionary tale- you can tell that he does find a good deal in the little red book of Mao captivating. We hear a hard-pounding Mao rock song that dances between new anthem and parody. We see Jean-Pierre Leaud going on and on about this or that as the "actor" of the group and aiming arrows at liberal figureheads. When he first says it there's a brilliant sense of momentary self-consciousness as we see the cameraman and the sound-guy shooting, and this later reverts back into what is like a documentary on the fiction of the documentary of the movie if that makes sense. Then classical music rises up, and then cuts off in a flash. Like the characters, there is a sensibility of hope in some change, at least in this case with cinema, in approaching image and montage, composition, primary colors popping out at times like seas of red.

But at the same time he's almost going back and doing his own self-criticism. If one's seen at least one or two or more Godard films, primarily from the 60s, one often sees a character reading from a book on camera, sometimes for a long time. This time we see the characters stripped-down: they have nothing from experience, only from a kind of drunk-the-kool-aid reverence to the red book, with the kids or "guest" lecturers in the classroom scenes going on about it. I liked that, Godard fessing up to the futility of fervent worship, or rather stalwart dedication, to using up all ideas from a text. Aside from Anne Wiazemsky's character- and even she, by the end, just goes back to the way things were- the characters aren't really into practicing what they preach, despite the preaching 'heavy' and the discussion as highly charged as one would expect for 67-going-on-68 (if perhaps, like Easy Rider, anticipating the demise of the power behind a specific counter-cultural group).

Political nerve and rebellion gets criss-crossed with what is and what isn't the truth with these kids; they love Lenin and Marx as much as they love theater and movies acting. It's this loop of goofing around (I love the bit when two of the girls are playing with some contraption as if it were bull's horns, and one guy comes into the apartment and says 'ah, steering wheel'), and pontification that becomes fascinating. The scene on the train, with one shot where suddenly the color goes murky and the tone of the conversation between Veronique and the older man turns towards the realities of violence as a means of political ends, is extraordinary.

If it's at all a great film it's not simply because of Godard's experimentation, which is of course at its peak (he also made Week End the year this came out, his most ambitious and f****d-up film, maybe the craziest mix of statements in one movie ever). On the surface, at least at the start, it looks like another Godard Maoist mumble. Yet like in his earlier work, he puts the ideas back onto the characters, and doesn't make a muck of narration points or too many tangents. Like a documentary, we see the inner-workings and bias of a particular viewpoint. Like theater, it's colorful, hyper-active, entertaining to a weird fault. And like political science it dissects its subjects with some degree of respect for what is being talked about- communism- while never forgetting the damages it causes.