Détective

The films in Godard's late (and not yet over) period present some of the greatest challenges to cineasts. Detective is no exception. It is extraordinarily complex in narrative (or, more precisely, anti-narrative), visual composition, and editing structure. Unfortunately, I don't think it's worth it. It's kind of a parody of a detective film (the one in this film is a hotel dick), but it's nearly impossible to figure out what's going on. It can be quite beautiful in its visuals and editing patterns, but never beautiful enough to make it worth seeing. It's not terrible, but, then again, it's not good, either. 6/10

P.S. First off, yes, the little girl IS Julie Delpy, in case you were wondering.

P.P.S. Remember when Martin Scorsese made his version of Cape Fear for MGM because they allowed him to make the highly personal The Last Temptation of Jesus Christ? Well, he may have gotten that idea from Godard. Detective was made as a straight commercial offering to the studio that produced his highly controversial Hail Mary. It's strange to think of Detective as a commercial venture, though!

This is why I love Godard. He turned a 'commercial' project he did in order to get financing for "Hail Mary" into one of his most enthralling late works, a sleeker, leaner, funnier, lighter version of the sort of film Godard made after the 60's. The film follows four different 'stories' in the Hotel Concorde Saint-Lazare in Paris, where the entire film is set. Something of a deconstruction of the detective film or film-noir on paper, but the film is more formally interesting than it is story-wise (though its 'narrative' is often very amusing and overall very entertaining). Although critical reviews of "Detective" seem to be positive (all the ones I can find anyway, including Variety and the New York Times among others), the film is overall not too popular, and from my experience not too well-liked by Godard fans either. Shame as well because the fact that "Detective" combines some of the zip and light humor of Godard's early work with the more experimental sensibilities of later Godard films doesn't mean this is in any way lacking as a filmic experiment. It's gorgeously-shot with superb, intricate mise-en-scène, and features some of the most interesting and complex editing in any Godard film, but what really steals the show is the sound, which is an entire world all on its own. The visual splendor of the film is not only complimented, but overshadowed by the creative sound editing and mixing, genius use of music, and aural gags and puns. Dedicated to Edgar G. Ulmer, Clint Eastwood, and John Cassavetes, "Detective" is one of Godard's best, and likely his most criminally under-appreciated. It does ask for a patient, observant audience willing to listen carefully, but rewards that patience with great comic energy and some fascinating and beautiful aural experimentation. One of the best casts Godard ever worked with as well.

Like zetes stated, this was supposed to be Godard's "commercial" movie. However, it actually feels like his least commercial film of the ones released since 1980. Ever the prankster, Godard stocks the film to the brim with pratfalls, movie quotes and other allusions.

It's hard to imagine how it is watching this in the theater. The film is so multi-layered that it's impossible to take in at one time.

I'm not sure what his stance is on the home video vs. theater debate. A movie so dense with quotes is almost destined to be better viewed at home. There are multiple scenes where if you pay attention to one thing, you wind up missing some other detail. Even after multiple viewings. I had to watch this more times than any of the other Godard film currently in print just to make sure I caught enough of the details.

As awesome technically as the film is, it somehow feels like a rehash of what he already did with First Name Carmen, Passion and Hail Mary. The fact that this was a commission may mean his heart wasn't quite in it. You could never accuse him of that with most of his other films.

This film demonstrates editing, structure and mis-en-scene perfectly. It's clear that with every scene, Godard has thought carefully about positioning and in a few shots, has cleverly manipulated the use of mirrors or glass. The camera never moves in the film – it stays still in every sequence, and so the positioning of the characters is paramount. Instead of the camera moving to capture all the characters on screen, many scenes involve the characters moving themselves after an entrance of a another person to ensure that facial expressions can be seen. Music also plays a huge part in this film, as it indicates moments of tension, or importance, such as when the audience sees 'la famille' for the first time in the film. Background noise is also evident, with many layers of sound to the film, such as background traffic noise from the open window, as well as the piano player in the café. The scenes themselves and the cleverness from behind the camera make this film worth watching. However, the plot itself is weak, with many superfluous characters, and bizarre situations (such as the boxer and 'Mister Jim' with the two girls). The many different characters and their individual situations are closely linked, through their interaction with each other, but the ending is immensely unsatisfactory.

Typical for its director, this overpopulated crime puzzle is made with brilliant style and has its moments of miniature intellectual insights and wit and is never boring, but on this occasion doesn't quite add up.