A Chinesa

In 1966, Jean-Luc Godard made the acquaintance of some young members of the French Left who felt a strong pull towards Maoism. By looking to China, they sought to escape the traditional division of the French Left into supporters of the Soviet Union, which had lost its revolutionary fervour, and Trotskyist parties, which were impotent. (Of course, at the time the West was still generally unaware of the horrific toll of Mao's policies.) Godard, whose sociological curiosity and political engagement was strong in these years, decided to study this phenomenon, and the result is LA CHINOISE. While Godard would eventually go on to make a few films that were so didactically political that one felt bludgeoned by the message and watching was no fun, this one surprised me in how entertainingly its plot played out and how astute its observations were.

In a Parisian flat borrowed for the summer while one member's parents are away, a group of young radicals lodge together and fancy themselves a revolutionary cell. Chief among them are Guillaume (Jean-Pierre Léaud), Véronique (Anne Wiazemsky) and Yvonne (Juliet Berto). They read daily from Mao, decrying the Soviet Union and French society, and practicing their demagoguery for their occasional attempts to bring their message into the streets. Gradually, they come to decide that terrorism is necessary to achieve their goals, and they gang up on the sole dissenter from violence and kick him out of the flat. Francis Jeanson, a French academic and opponent of the war in Algeria, as well as Wiazemsky's actual thesis adviser, appears as himself in a scene where he attempts to dissuade Véronique from violence, asking just how much support from the oppressed masses does this sheltered girl think she has.

As desperate as he was for a cause to uphold, I don't believe that Godard really committed himself deep down to Maoism or revolutionary socialism in general. His bitterness against the staid French status quo is palpable, and he likes how the French Maoists at least recognized a need for change, but LA CHINOISE affectionately criticizes its subjects more than it celebrates them. Rather than presenting Maoism convincingly as a way forward, LA CHINOISE ultimately suggests it was only the most recent expression of the drive to rebellion that appears afresh in every young generation. While these characters are Maoists, he borrowed the basic outlines of the plot from Dostoyevsky, who described a set of young radicals well before Marxism-Lenin. The filmmaker underscores how such idealistic young people takes themselves too seriously, he shows their adoption of Maoist art as a sort of fashion statement, their use of Maoist terminology as the latest hip slang.

There are some fun touches here, the acerbic humour and amusing dialogue that Godard brought to his storytelling. The occasional use of Brechtian distancing techniques, like when Guillaume suddenly breaks character and talks to cinematographer Raoul Coutard, lead the viewer to reflect more on what is happening. And in spite of Godard's revolutionary sentiments, LA CHINOISE maintains a dialogue with the film tradition (cinephiles will chuckle at the avant-garde snippet that occasionally pops up in the soundtrack, a clear nod to Ingmar Bergman's film PERSONA).

Like Godard's early colour films, this is also a visual pleasure. Much of the first half of the film seems to me a study of faces: Léaud's famous expressiveness, Wiazemsky's quirky overbite and distinct way of moving her mouth to the left when talking, and Berto's sad eyes. The set design is clever, full of little details. (It's great that the film has been re-released in Blu-Ray, so viewers can appreciate all those touches in high-definition.) I wouldn't recommend LA CHINOISE to someone who had not seen Godard's earlier films, but I rate this pretty highly among his body of work and believe that it will impress anyone who has developed a love for this auteur's style.

Godard's second masterpiece of 1967 - the first being Week End - is a brisk social satire on the nature of petty bourgeois revolutionaries playing terrorists from the comfort of their parent's suburban apartment building, presented in the form of an infernal parody of Dostoevsky's The Possessed (1872). The film is famous for two reasons; firstly for predicting the eventual mood and political atmosphere of the events of the following year - with French university students plotting a course for political action and enforced revolution in a way that is highly reminiscent of the eventual proceedings of May, 1968 - and secondly for Godard's increasingly confrontational style of film-making; with his continual experiments with Brechtian inspired alienation techniques employed alongside the once radical appropriation of abstract design concepts, pop art and psychedelia.

Like the third film of Godard's '67 trio, 2 or 3 Things I Know About Her, La Chinoise is presented as a series of dialogues and sketches that establish the political climate of the period, the nature of the characters and their various relationships with one another, and finally, their all encompassing views and opinions on concepts such as Maoism, the war in Vietnam and their position as Marxist-Leninists. In the past, many have misinterpreted the film as being Godard's ode to Maoism, working almost as a piece of socio-political propaganda in a similar way to how the influence of Marx is sometimes wrongly interpreted on the thematic foundation of the aforementioned Week End. However, I can't image that Godard was being entirely earnest with his depiction of a self-appointed student commune tackling the issues of the day in a series of absurd role-playing games, forthright discussions and the eventual urge for violence, but rather, using this absurd and provocative notion as a springboard to a series of more interesting, ideological discussions.

As a result, attempting to explain the deeper subtext of La Chinoise in any kind of greater detail can be a daunting task. I myself don't fully understand every facet of what Godard was attempting to say with the film. Like many, I can only approach it on a personal level by making assumption and describing the experience. Though the ultimate intent of Godard, the political background of the film and the satirical nature of the presentation can all be seen as off-putting to those of us disconnected, either geographically or generationally from the events of this period, the basic foundations of the film and the dynamics between the four or five central characters are immediately recognisable. Though I'm sure that Godard had a great belief in Mao and the teachings of his "little red book" he continually argues against the ideologies of the central characters, either through the use of other, more informed supporting players, or by the subtle use of mise-en-scene; reminding the audience that these characters, although well-read and university educated, are still children, and thus, express themselves through childish games and fancy dress.

As with Week End, the ultimate depiction of the characters here is so contemptuous as to underline Godard's satirical intentions, as they bleat and pontificate amidst the director's onslaught of ironic visual motifs that seem to conspire to make a mockery out of their objectives and ideals. In terms of performances, La Chinoise is one of Godard's best; benefitting from an incredible lead performance from Jean-Pierre Léaud as drama student Guillaume, whose pretension and theatricality make him an obvious and charismatic leader for the group, which here includes Anne Wiazemsky as would-be philosopher Veronique, Juliet Berto as a character reminiscent of a younger incarnation of Marina Vlady's character in "2 or 3 Things" - in terms of her farm girl roots and casual prostitution - and Michel Séméniako as the conflicted and ultimately far more thoughtful of the group, Henri. There is also an appearance from philosopher and radical thinker Francis Jeanson who, in the film's most important scene, criticises the actions of the group as childish and uninformed in a way that adds a great deal of weight to the film's counter argument and indeed, Godard's perspective on his characters.

Unlike "2 or 3 Things", the casting of La Chinoise actually brings something to the film; with the wit and charisma of the students making Godard's attack and more pointed moments of satire easier to digest. However, where the film really succeeds is in Godard's typically bold direction. If you're familiar with any of Godard's previous work of this period, such as Pierrot le fou (1965) and Made in USA (1966), then you'll know what to expect from his characteristic and unique use of production design, shot composition, sound and editing. The hand-painted design of the student's apartment, with the typically Godardian use of primary colours and agitprop slogans stencilled into the mise-en-scene is a fantastic example of how to create an interesting frame on a limited budget, whilst the continual bombardment of Marvel characters to act as ironic signifiers to the heroes and villains of the time, alongside hand-tinted photocopies of political figures that underline the spirit of the central characters, give context to the proceedings.

The look of the film illustrates Godard's fantastic imagination, wit and intelligence; with the use of music - including classical compositions and ironic pop songs - as well as the dialog and performances from the cast making La Chinoise one of the filmmaker's most memorable and successful works. Though mostly a playful film in tone, La Chinoise hints at an escalating air of violence and political unrest that would eventually explode in the final moments of the apocalyptic Week End; while many of the more recognisable themes and stylistic preoccupations developed in those other films from 1967 would be continued in subsequent works such Le Gai savoir (1968) and Comment ca va? (1978). Though many people may find the film hard going or dated even, La Chinoise is, for me at least, one of Godard's most intelligent, interesting and entertaining films from the pinnacle of his career.

I've heard some claim this as Godard's seminal work. I wouldn't say quite that, but its a great, and I think misunderstood, piece of work. Everyone discusses this film as if it were a critique of the May '68 Movement, forgetting that it was released the year before, and probably filmed two years before. Everyone thus views it as a satire of the past, when it fact it is a frightened critique of the contemporary. Godard does indeed think the "Maoists" the film follows are dilettantes, as the May '68 Movement proved to be, primarily, composed of. But he also wants desperately for a more militant presence to assert itself, and lead the contemporary situation into a more legitimately revolutionary direction. The seminal scene of the film is in the last act, when the student radical meets with her professor "radical" on a train. Both sides issue futile maxims. Godard overlays the words "this situation must change!" over their conversation. The pseudo-revolution of the 1960s, Godard prays, can become a real one. In retrospect, this is somber

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.

Godard's misunderstood film about a cell of Maoist students in 1967 France is not so much an endorsement of revolutionary politics as it is an exploration of it. Although the film clearly contributed to the revolt at Columbia uprising, and later the student May uprising of 1968, this is in fact a highly nuanced account of the variegated tendencies of radicalization among the French youth. We encounter an outdated renunciation of Marxism-Leninism, which sadly converted large swaths of radicalizing youths to Mao in the 1960's, and still has some resonance on the left today. This is a delightful mixture of politics and pop culture as only Godard can provide, that is, with passion and form.