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Top 15 films by Jean-Luc Godard; Introduction to the revolutionary director (filmmaker under a magnifying glass)

BingMag.com <b>Top</b> 15 <b>films</b> by <b>Jean-Luc</b> <b>Godard;</b> <b>Introduction</b> to the <b>revolutionary</b> <b>director</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

Jean-Luc Godard is a revolutionary name in modern Western European filmmaking. Like Surrealism and Dadaism, he is the product of a Frenchman who was experiencing the decline of the bourgeoisie. Godard was born on December 3, 1930 in Paris. He grew up in the streets and alleys of Paris; That is, where his cafes were in those days dominated by Sartre and his existentialism. But instead of following in the footsteps of Marijuana and Al-Asudi, I chose filmmaking. It was then that I realized that the world of cinema was bigger than any bourgeois family.

By 1966, Godard's films had received mixed reviews and criticism from intellectuals. The two films "Pierre Melle" and "Little Soldier" were detailed analyzes of the political and capitalist situation in France. He showed how the government welcomes the expansion of capitalism in France under various headings.

His political outlook on "Weekend" changed. He gradually became more and more extremist. In a way, the television broadcast of the movie "Pleasure of Learning", which was commissioned by the television, was banned. He has since made many films that were banned in their day.

Godard is strongly opposed to individualism. His films are very pessimistic. There is usually no news of the village; We only see Paris with its restaurants, its foggy streets, its hotel rooms, the Seine, and the person who oscillates between these blessings and their diversity. This is his favorite subject for filmmaking.

His characters do not seem to have a home. They go here and there like Bedouins in the desert, and Paris is their desert; Where they are trying to find their oasis. It is in the midst of these quests that love arrives and saves them from the self-destruction that afflicts them. He has repeatedly reminded him of the great sin of bourgeois society on the big screen of cinema; The Sin of Prostitution!

In films like "Living" we see that the sin of prostitution is not limited to sins. All members of capitalist society are sinners. Even intellectuals, writers, literary figures and political leaders are willing to fall under the yoke of American Coca-Cola civilization in exchange for cash. Jean-Luc Godard treats them cruelly. He wants to break all the crises that he thinks are the result of the bourgeoisie. He wants to destroy society, art, content and form, and that is what makes cinema something for him beyond art; To a gun.

His cinematic reality is different from others. There is a proverb that says: "The camera never lies." The exploiters take advantage of this opportunity and want to inject their own fabricated reality, but Godard tries to completely break this reality. Just as in The Voice of Britain he utters this dialogue from one of his characters: "The bourgeoisie has created a world based on its image. "Let's destroy this image, comrade."

Jean-Luc Godard believes that cinema is a form of capitalism. Therefore, it wants to fundamentally change the form. He believes that we should stop making films about politics and start making political films in political ways. We can see the form he intends in the same film "British Voice". Godard's cinema is universal. He has made films about Palestine, the Caribbean, Algeria, Vietnam and Latin America.

Overall, Godard is a controversial director. He has attracted a variety of opinions. Some hate him and some praise him. The controversy over Godard will continue, but we can not dislike him, because in any case he is a real artist and his films are great examples of aesthetics in the art of our time.

Among many of the greatest directors in the history of cinema Fewer artists can claim to have had as fundamental an impact on twentieth-century cinema as this bad-natured French New Wave boy who reached the center of the square from the corners of Parisian clubs. Most likely you are alone. W. The legendary Griffith is the first cinematographer to have a tremendous impact on Godard's filmmaking language; A language that Godard quickly learned and spent six decades of his career destroying and rebuilding based on his political and artistic worldview.

His career is, in fact, vast and varied. The idea of drowning in the sea of his works can be daunting and confusing. Should we start with its more commercial era in the 1960s? Moving on to the more radical experiences of the 1970s? Perhaps his more refined artistic approach in the 1980s and 1990s, or even the works of the 21st century, should be our starting point. There is really no right answer.

One approach to Godard's works is based on their history; We can start and move forward in chronological order. In general, all of Godard's works have merits, and even at the lowest level of quality, Godard's films remain something of an engagement. But this article is not about the lowest depressions, but about the multitude of artistic peaks in his work, and intends to examine these ideological and aesthetic milestones in the form of 15 films by him.

We hope that throughout Let's touch on aspects of his career, but it goes without saying that for those who want a more accurate encounter, there is no better source than watching the films themselves; That is, the fifteen films that we will gradually name below.

The First Period - The New Wave (1967-1960) ">

1. Breathless

  • Product: 1960
  • Actors: Jean-Paul Belmondo, Jane Seaberg and
  • Raton Tomitoz Score: 97 out of 100
  • User Score IMDb to the movie: 7.8 out of 10

2. A Woman Is a Woman

  • Product: 1960
  • Cast: Jean-Paul Belmondo, Anna Carina and
  • Raton Tomitoz : 79 out of 100
  • User rating IMDb to movie: 7.4 out of 10

3. Le Mepris

  • Product: 1963
  • Actors: > Brigitte Bardot, Michelle Piccoli and/
  • Raton Tomitosis Score: 91 out of 100
  • User Score IMDb to movie: 7.6 out of 10

4. Pierrot le Fou

  • Product: 1965
  • Cast: Jean-Paul Belmondo, Anna Carina and
  • Raton Tomitoz Score: 87 out of 100
  • User rating IMDb to movie: 7.6 out of 10

Before evaluating Jean-Luc Godard's early films, one must first look at the context in which they were made, either personally for Godard, culturally in cinema, or historically in the post-European geopolitical landscape. World War II, let's understand. Godard, who was not involved with cinema in his youth, became acquainted with the film through articles that were exposed to him by bourgeois intellectuals. During the 1950s, he became one of the most popular writers in Kaye Do Cinema magazine. Kaye Do Cinema was an influential publication that popularized schools of thought such as author theory and evaluated the role of directors in American films of the 1940s and French before World War II. Co-authors and friends of the magazine include Franois Truffaut, Jacques Riot, Eric Roemer, and Claude Chabrol. Although none of the owners of these letters reached the level of Jean-Luc Godard's fame, they are all influential in the history of cinema and the New Wave. But it was this film that introduced the Paris Underground Club to the world as one of the most important sounds of cinema. After its release, the film was able to attract 2 million French viewers to the cinema and, over time, attracted the attention and admiration of critics. "Breathless" is now considered an unattainable masterpiece that can be considered as the first turning point in Godard's career and one of the turning points in the history of cinema. It uses to immerse the audience in space, but it also intentionally confuses the same spectator with the uncoordinated background songs and confusing jumps in the film's famous murder scene, and casts doubt on all the obvious images we know of animating in gangster films.

After seeing all of Godard's films, one can look at his first film with laughter and see it as an underdeveloped thesis for what he achieves in his later films, but to see a film like "Breathless" is an ignorant reduction. Is. Exciting soundtrack by Martial Solal, black and white cinematography by Ral Kotar and screenplay by Godard and Truffaut; This means cinema in its most anarchic state. A cinema that, after nearly six decades and several other films by Godard himself, still retains its place. Make sure that even he does not achieve anything like it again. The closest thing to Godard's "success" and fame around the world is probably "Humiliation." Starring Michelle Piccoli, Jack Palance, Fritz Lang (in his own role) and Brigitte Bardot, the film tells the story of a producer and director who try to film an adaptation of Homer's Odyssey. The director adds a screenplay to the team that causes what happens next.

In a similar way, Godard's approach to "humiliation" seems to be more than a direct adaptation of Alberto Moravia's popular existential novel. It is called "disgust". Although the plot of the novel has been preserved to some extent, more attention has been paid to moving scenes and high shots, which try to show the inner emptiness of the film industry. Playing Lang in his role brought a lot of margins and attention. New Wave directors Luke Mole and Jacques Rozie were also in the group, and Godard and Kotar both appeared on camera. The project was funded by the legendary Italian producer Carlo Ponti. In any case, "Humiliation" is one of the best films ever made about filmmaking, but not so immersed in the glitter and ideas that the title brings to our minds. To play the role of Camille, Paul was a complacent and intelligent wife of Paul's character. Hiring this model and actor, which was largely due to his beautiful appearance, softened the intellectual film a bit.

During Godard's filmmaking career, he worked with several cinematographers, editors, directors, screenwriters and actors. He has a long-term collaboration, one of the most famous of which is his numerous projects with Anna Karina. Together they made seven films, the first of which was the war drama "Little Soldier" and the last of which was "Made in America". We have included 2 of these films among our suggested films from the same period.

The first of these films, "Woman is a Woman", is Godard's second film. A film that shows the filmmaker is aware of his abilities and is not afraid to innovate and get out of his safe zone. He confuses the audience with numerous improvised pieces of music and sews them into a chair by being drawn to a love triangle whose members recklessly break down the fourth wall to express their feelings. The film's confidence and intertextual power is such that at one point, one of the characters announces that he is playing in a masterpiece. And then he sits and watches himself play in the "breathless". He is aware of his place in the world of cinema and knows how to destroy and reconstruct established forms to create his own worldview. Various political contexts are more accurately reflected in his later works, but it was not until the first time in the film "Pyrrho Khaleh" that the issue of class politics was examined lightly.

Theoretically, there can be no fundamental difference between lovers. While fleeing, he found "a follower" and "out of breath." But the study of this work is an interesting revision, in which one can realize Godard's great progress in such a short period of time. What immediately amazes us is how visually impressive everything is; Belmondo and Carina are immersed in technical and neon lights, their shadows reflected in the entrances, and their faces painted red. They are law-abiding insurgents. Belmondo leaves Paris out of boredom of the bourgeois lifestyle in search of anonymous happiness, and his ex-girlfriend, Marianne, flees to hide from the Algerian criminals. And it becomes a tradition and continues to the point where the film's ending may seem counterintuitive. But after thinking more, we find that this is the most subtle trick to move on the edge of mainstream filmmaking and political filmmaking. In many ways, we get the feeling that this is a personal film for Godard, and he soon becomes the man who escapes the boredom of his Parisian bourgeois lifestyle, but not a fugitive to the hills of continental Europe, but a fugitive to The direction of the style of political filmmaking that Godard spent the next decade cultivating and refining. Therefore, at the end of each period, we will mention the names of some thought-provoking films that are not among the 15 films we suggest.

Considerable works of this period:

<"Vivre Sa Vie" is one of Godard's most influential films. The film is an episodic account of the life of a Parisian's character, best played by Carina in her most influential cinematic performance. It has the standards of beauty and agency of a modern woman. The film is made in black and white with a brilliant montage.

"Alphaville" is one of Godard's few early achievements in the genre of cinema. In it we see the anti-utopia driven by machines.

"Masculin Fminin" is Godard's irreplaceable masterpiece. The film is a documentary on the flourishing culture of young Parisians in the mid-1960s and marks the beginning of Godard's collaboration with Jean-Pierre Lowe. BingMag.com <b>Top</b> 15 <b>films</b> by <b>Jean-Luc</b> <b>Godard;</b> <b>Introduction</b> to the <b>revolutionary</b> <b>director</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

5. Chinese woman (La Chinoise)

  • Product:
  • Cast: Jean-Pierre Leo, Anne Viazmsky and
  • Raton Tomitoz score: 95 out of 100
  • User rating IMDb to movie: 7.1 out of 10

6. Weekend

  • Product: 1967
  • Cast: Jean-Pierre Leo, Jean-Yan and
  • Raton Tomitoz Score: 93 out of 100
  • User Rating IMDb to Movie : 7.1 out of 10

7. The Rolling Stones Sympathy for The Devil

  • Product: 1968
  • Cast: Rolling Stones, Charlie Watts And/
  • Raton Tomitosis Score: 50 out of 100
  • User Score IMDb To the film: 6.3 out of 10

Due to the limitations we have in mind, we have to divide Godard's filmmaking into only five sub-categories. For this reason, it may seem strange to devote a full stage to a two-year course. But we must keep in mind that this important period from 1967 to 1969 is a turning point in the contemporary history of the world. And the turning point of this important period is the famous month of May 1968, which ended with the general protests of students and workers in many countries, including France, against capitalism, consumerism and imperialism, which overshadowed the lives of the people of the world.

For all the richness of "Chinese Woman" in political subtexts, it is a straightforward and hilarious comedy. Godard's objects to play with form in this film are some young revolutionary students who fall under the political current of those days of May '68. In bright colors, he exposes and combines their contradictions and hypocrisy with humorous pieces, and adds a direct interview with the philosopher Francis Jinson, which he conducted himself. Most importantly, the film , Signals the construction of a new axis in the structure of Godard's storytelling, as his strict ideology and beliefs kept him away from the structural reproduction of his glorious works of the early 1960s. Although Ral Kotar's pop art and the presence of the irreplaceable star of the time, Jean-Pierre Leo, made the film a kind of novelty, Godard's new approach to narration sets the film apart. While his contemporaries were still exploring their form, Jean-Luc Godard had already reached full consciousness, creating his historical masterpieces at the beginning of the decade, and now considered it his artistic and political duty to move away from them.

This deviation from the mainstream narrative films continued in "Two or Three Things I Know About Him," a documentary that was released later that year and matured on "Weekend." One of Godard's most decisive and enduring statements, widely recognized by historians and scholars as the end of the New Wave and the transition to a new era, is the final frame of "Weekend," which heralds the "end of narrative cinema."/p>

Yes! It was a bold statement. But behind it was Godard's strong political thought. The class and ideological divisions of the French people were another support for the legitimacy of this statement. As a middle-class couple, Mirrell Dark and Jan Yan are good examples of this situation. Their weekends get worse and worse throughout the movie. A series of growing encounters occur for them. The further they go, the more problems they face with the villagers. These cause their consumerist lifestyles to slowly collapse under the greater dissatisfaction and suffering of global capitalism. .


. . . . . . . .


(2or3 Things I Know About Her)- .


BingMag.com <b>Top</b> 15 <b>films</b> by <b>Jean-Luc</b> <b>Godard;</b> <b>Introduction</b> to the <b>revolutionary</b> <b>director</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

8. (Le Vent dEst)

  • :1970
  • :
  • IMDb :5.9 10

9. (Tout Va Bien)

  • :1974
  • :
  • :50 100
  • IMDb :6.6 10

10. (Here and Elsewhere)

  • :1976
  • :
  • :78 100
  • IMDb :7.1 10

1968 . . 9 . 9 1970 . . . . . ( ) . . . . .

. . . . . . . . . ( ). . .

. . . . . .

. . . 1970 .


. . . .

. . .


BingMag.com <b>Top</b> 15 <b>films</b> by <b>Jean-Luc</b> <b>Godard;</b> <b>Introduction</b> to the <b>revolutionary</b> <b>director</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

11. : (First Name: Carmen)

  • :1983
  • :
  • :89 100
  • IMDb :6.5 10

12. (King Lear)

  • :1987
  • :
  • :55 100
  • IMDb :5.6 10


  • :1988
  • : 81 100
  • IMDb :7.3 10

( ) . .

1980 . . . : . . . : .

80 90 . .

. . . . ( ) () .

. 1988 . 266 .

. . .


(Hail Mary) . .

. .

(Nouvelle vague) . .


BingMag.com <b>Top</b> 15 <b>films</b> by <b>Jean-Luc</b> <b>Godard;</b> <b>Introduction</b> to the <b>revolutionary</b> <b>director</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

14. (Film socialisme)

  • :2010
  • :
  • :58 100
  • IMDb :5.7 10

15. (The Image Book)

  • :2018
  • :90 100
  • IMDb :6.2 10

. . 2000 . . . . 6 . . . .

. . . .

. . . . . .

. 150 . .

: high on films

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