King Lear

This isn't really an adaption of 'King Lear', it's King Lear as directed by the undisputed king of pretention himself...Jean-Luc Godard! In other words, aside from a few vague allusions and a scattering of lines from it, it has as much to do with Shakespeare's play as Cliff Richard has to do with grindcore metal, i.e. Nothing! Nothing at all! I actually can't be bothered to explain what its about but suffice to say, it is a true slice of patience-testing drivel that is up to Godard's lofty unwatchable standards. Burgess Meredith, Molly Ringwald and Woody Allen pitch up in it unbelievably. Even more incredibly, it was financed by Cannon Films, whose previous most highbrow production was that Sylvester Stallone movie about arm wrestling. It would have been funny at least to have seen their reaction when they finally sat down to check out the fruit of Godard's labours. But it is definitely less funny, when you remember you watched it yourself.

I can't say I've ever actually *liked* ANY film by Jean-Luc Godard (and I've actively hated several), but this late entry in his career is lighthearted and infectiously playful in its experimentation, especially early on, so that even when what it's trying to do doesn't come off, we still feel involved enough to roll along with it.

It was apparently first commissioned as a genuine, straightforward adaptation of Shakespeare's play, but the end result is a wild, free-associating modern creation of its own, much more to do with the process of adaptation than the play itself, and peopled almost entirely by famous faces such as Norman Mailer, Burgess Meredith, Julie Delphy, Molly Ringwald and even Woody Allen for a few seconds.

It's a very strange thing to exist, and many, I'm sure, would just find it insufferably pretentious (which it certainly is), but I still enjoyed it more than any of his efforts from the 60s and 70s, so take from that what you will.

P. S., you're definitely gonna need the subtitles on, particularly for Godard's own (English) scenes.

Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespeare Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a strange professor named Jean Luc-Godard, who repeatedly xeroxes his hand for no particular reason.

I gave this film a low rating primarily because of the way I saw it, with a low quality of picture and sound. I think there is a lot of potential here, but I wasn't fully able to enjoy it. Oddly, I don't think any people have seen this film, despite the names involved. Woody Allen? Norman Mailer? Molly Ringwald? This should be a cult classic. Has it received a proper release?

Radically obscurantist contemplation on Shakespeare's classic play presents itself as a wild associative stream of images and sound, in a for Godard typically brilliant montage, but presupposes an audience of polymaths; for everybody else it is of limited interest.

Cahiers du Cinema rated this as one of the top ten films of 1987. On the other hand, Leonard Maltin said of it, "Bizarre, garish, contemporary punk-apocalyptic updating of Shakespeare classic. Little to be said about this pretentious mess except... avoid it." I don't think it is a great film, but I certainly don't think it can be dismissed in such an offhand manner. There was a lot of thought put into it, and it can be very thought provoking, and also quite funny. I liked this film quite a lot and I thought it was interesting. I think it is very innovative and ahead of it's time; it almost seems like a multimedia project more than a film. I can see how people might find it very boring, but I didn't at all. It deals with many issues that have since become prominent themes in academic discourse.