.tnyfrontrow shares his favorite Jean-Luc Godard films—“I haven’t picked them, they picked me,” he writes. Godard died earlier this week.
, in which Godard adapts a pulp-fiction novel into a fractured film noir in color about cinematic ambition and ecstatic romance, political violence and intimate betrayal, commercial culture and high art, love and death. And I wrote, on,” Godard’s second feature, starring Karina and Michel Subor, a romantic thriller centered on espionage and the practice of torture during France’s Algerian War, which was banned outright by the French government for three years.
The story, set in Paris, is a classic triangle: a woman, her husband, Pierre, and her lover. Yet the story isn’t exactly that of real-life people. Despite the recognizable settings, the location shooting, and the extensive anchoring of the action in the current events and pop culture of the moment, the movie is a sociological X-ray—a corporeal set of abstractions that turns its characters inside out to dramatize the ambience and the effect of the media culture that informs and even forms them.
Paul is something of an autodidactic young intellectual, who is first seen in the bleary winter light of the café doing what young intellectuals do—he’s writing, and, as he writes, he speaks his text, autobiographical and political, aloud on the movie’s soundtrack.
Before the advent of home video, publishers used to issue books of screenplays that served as handy surrogates for watching or rewatching. The one for “Masculine Feminine” had an unusual distinction: it contained translated excerpts from a French book called “Waiting for Godard,” by Michel Vianey, which was a report from the shoot of the film.
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