Le Plus Vieux Métier du monde

Sketch film. 6 segments telling the history of prostitution through ages. The one I liked the most: Jean-Luc Godard's Anticipation. Great imaginative work, with the use of black and white to amplify segment. I also liked Claude Autant-Lara's segment (Aujourd'hui) and Franco Indovina (L'Ère préhistorique). It's also a film that showcases the most beautiful actresses from the time: Anna Karina, Elsa Martinelli, Jeanne Moreau, etc.

Out of 100, I gave it 78. That's good for **½ out of **** stars.

Seen at home, in Toronto, on February 14th, 2004.

Six rather tepid episodes in the history of prostitution, from prehistoric times (not featuring Raquel Welch) to The Gay 1890s (featuring Raquel Welch). French-Italian-West German co-production (in French with subtitles) was helmed by six different directors: Claude Autant-Lara, Mauro Bolognini, Philippe de Broc, Franco Indovina, Michael Pfleghar, and Jean-Luc Godard (who directed the "Anticipation - Love in the Year 2000" segment). A bit more levity and spice might have helped; this seems awfully tame for 1967. Welch's sassy installment involving the bedding of an elderly banker is the liveliest of the lot. *1/2 from ****

The 1st (prehistoric) episode opens brightly, doesn't really go anywhere, but you can't take your eyes off Michèle Mercier for a moment: she has a body for the ages (no pun intended). The 2nd (Roman) is a familar yarn, with a funny ending. The 3rd (Napoleonic) is a clever tale with Jeanne Moreau looking and acting sexier (and looser) than I have even seen her before; usually when you think of Moreau you think "great actress" and not "sex symbol", but this episode shows that she was in fact one of the most voluptuous actresses of her era. The 4th (Belle Epoque) has dazzling Raquel Welch (though nowhere near Moreau's league in this particular movie), but goes on too long. The 5th (contemporary), despite some lively acting by the two girls, is pretty much a dud. The 6th is a baffling non-futuristic "futuristic" oddity where Jean-Luc Godard unleashes a whole bag of weird audiovisual tricks on the audience; its biggest joke may be just how out of tune it is with the rest of the film! It's like watching a Western episode in a Horror anthology. Good production values throughout. **1/2 out of 4 on the whole.

This film is definitely worth seeing. The film is made up of six sketches by six directors, each revolving around the theme of - you guessed it - the world's oldest profession: prostitution. It begins with a ridiculous segment that explains the origins of cosmetics as a primitive stone age invention.

The acting throughout is not good but in a very entertaining way, that is, until Raquel Welch is on screen. She is better than ever and I almost wished her segment would not end, not knowing what was to unfold later in the film.

After a few more lightly entertaining segments, the film takes a considerably different tone. In fact, it's a sonic jolt that filled me with tension and excitement. I first saw this movie on Quentin Tarantino's 35mm print, and had no prior knowledge of it's existence. So, naturally, I was surprised to see Godard's name appear at the beginning of the last segment, entitled Anticipation. Among these mostly light-hearted and ridiculous comedy segments was one of the coolest things I've ever seen. At first, I thought the mention of Godard's name was a joke. The story is set in the future and is meant to depict prostitution in the years to come. It is, characteristic of Godard, unlike anything you would expect. I won't give away any details, for the experience is best seen fresh, and makes this movie worth seeing for Godard's segment alone. Come for Raquel, and stay for Godard.

The sketch film was a staple of European cinema in the Fifties and Sixties. It allowed directors to work out some interesting ideas in 15 to 20 minute segments, on small budgets. Most of the directors on view here are forgotten today--Indovina, Bolognini, Autant-Lara--or in eclipse: de Broca, who never was a real new wave filmmaker, but who had a sure grasp of commercial cinema, is known today for Le Roi de coeur.

The stories are mostly silly, the actors are often mediocre: Elsa Martinelli and Michele Mercier are Eurobland, like Capucine or Dana Wynter. Jeanne Moreau is terribly wasted in a boulevard farce with ridiculous costumes--her hat is bigger than she is. Nadia Gray and Dalio sing a lusty song together in the otherwise forgettable Autant-Lara. We have to wait for the final episode, Anticipation by Godard, to experience a real jolt. Nobody has used everyday settings like airports and office towers to create menacing environments the way Godard has; there's terror in that chrome and Formica. Jacques Charrier with his vaguely Teutonic looks is perfect as the Russian who just wants some human contact (excellent sound work to give him a foreign accent). Marilu Tolo and Anna Karina as the sensual and spiritual aspects of prostitution are wonderful. There's more punch here than in the 90 minutes of Alphaville (which admittedly has some wonderful scenes).