THE CRITERION COLLECTION & ECLIPSE SERIES (a J!-ENT Listing of all Criterion-related Blu-ray and DVD Reviews)
January 17, 2012 by J!-ENT · Leave a Comment
Since 1984, the Criterion Collection, a continuing series of important classic and contemporary films, has been dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements.
The following is a list of all the CRITERION COLLECTION Blu-ray and DVD’s we have reviewed on J!-ENT thus far.
THE CRITERION COLLECTION BLU-RAY AND DVD REVIEWS (Listing are in the Criterion Collection & Eclipse Series numeric order):
Note: Reviews are from 1999-Present
Seven Samurai – THE CRITERION COLLECTION #2 (Blu-ray release)
Amarcord – The Criterion Collection #4
the 400 blows – THE CRITERION COLLECTION #5
Beauty and the Beast – THE CRITERION COLLECTION #6
A NIGHT TO REMEMBER – THE CRITERION COLLECTION #7
Walkabout – THE CRITERION COLLECTION #10
The Naked Kiss – The Criterion Collection #18
Shock Corridor – The Criterion Collection #19
High and Low – The Criterion Collection #24
alphaville – THE CRITERION COLLECTION #25
Branded to Kill – The Criterion Collection #38
Tokyo Drifter – The Criterion Collection #39
ARMAGEDDON – THE CRITERION COLLECTION #40
For All Mankind – THE CRITERION COLLECTION #54
The Passion of Joan of Arc -THE CRITERION COLLECTION #62
The Third Man – THE CRITERION COLLECTION #64
The Blood of a Poet – THE CRITERION COLLECTION #67 (part of “Jean Cocteau’s Orphic Trilogy”)
Orpheus – The Criterion Collection #68
Cléo from 5 to 7 – THE CRITERION COLLECTION #73 (part of the “4 By Agnès Varda” Box Set)
Chasing Amy – THE CRITERION COLLECTION #75
Brief Encounter – THE CRITERION COLLECTION #76
Good Morning – THE CRITERION COLLECTION #84
L’Avventura – THE CRITERION COLLECTION #98
GIMME SHELTER – THE CRITERION COLLECTION #99
BEASTIE BOYS VIDEO ANTHOLOGY – THE CRITERION COLLECTION #100
THE ROCK – THE CRITERION COLLECTION #108
M. Hulot’s Holiday – THE CRITERION COLLECTION #110
Mon Oncle – THE CRITERION COLLECTION #111
Playtime – THE CRITERON COLLECTION #112
Sullivan’s Travels – THE CRITERION COLLECTION #118
Rashomon – THE CRITERION COLLECTION #138
Contempt – THE CRITERION COLLECTION #171
Band of Outsiders – THE CRITERION COLLECTION #174
My Life as a Dog – The Criterion Collection #178
Night and Fog – THE CRITERION COLLECTION #197
The Rules of the Game – THE CRITERION COLLECTION #216 (2004 Release)
The Rules of the Game – THE CRITERION COLLECTION #216 (2011 Release)
Smiles of a Summer Night (Sommarnattens leende) – The Criterion Collection #237
A Woman is a Woman – THE CRITERION COLLECTION #238
The Battle of Algiers – THE CRITERION COLLECTION #249
SHADOWS – THE CRITERION COLLECTION #251 (as part of the “John Cassavetes Five Films” DVD Box Set)
Fighting Elegy – THE CRITERION COLLECTION #269
Tout va Bien – THE CRITERION COLLECTION #275
L’Eclisse – THE CRITERION COLLECTION #278
Jules and Jim – THE CRITERION COLLECTION #281
Le Samourai – THE CRITERION COLLECTION #306
Masculin Féminin – THE CRITERION COLLECTION #308
Metropolitan – THE CRITERION COLLECTION #326
Yi Yi – The CRITERION COLLECTION #339
The Bakery Girl of Monceau – THE CRITERION COLLECTION #343 (part of “Eric Rohmer’s Six Moral Tales” DVD Box Set)
Suzanne’s Career – THE CRITERION COLLECTION #344 (part of Eric Rohmer’s Six Moral Tales” DVD Box Set)
My Night at Maud’s – THE CRITERION COLLECTION #345 (part of “Eric Rohmer’s Six Moral Tales” DVD Box Set)
Pandora’s Box – THE CRITERION COLLECTION #358
The Double Life of Veronique – THE CRITERION COLLECTION #359
symbiopsychotaxiplasm: Two Takes by William Greaves – THE CRITERION COLLECTION #360
The Emperor Jones/Paul Robeson: The Tribute to An Artist – THE CRITERION COLLECTION #370
Overlord – THE CRITERION COLLECTION #382
La Jetée/Sans Soleil – THE CRITERION COLLECTION #387
Robinson Crusoe on Mars – The Criterion Collection #404
Breathless – THE CRITERION COLLECTION #408
La Pointe Courte – THE CRITERION COLLECTION #419 (part of the “4 by Agnès Varda” Box Set)
Pierrot Le Fou – THE CRITERION COLLECTION #421
Antonio Gaudi – THE CRITERION COLLECTION #425
Trafic – The Criterion Collection #439
BOTTLE ROCKET – THE CRITERION COLLECTION #450
CHUNGKING EXPRESS – THE CRITERION COLLECTION #453
El Norte – THE CRITERION COLLECTION #458
Simon of the Desert – THE CRITERION COLLECTION #460
THE LAST METRO – THE CRITERION COLLECTION #462
In the Realm of the Senses – THE CRITERION COLLECTION #466
The Curious Case of BENJAMIN BUTTON – THE CRITERION COLLECTION #476
Made in U.S.A. – THE CRITERION COLLECTION #481
Marty (as part of “The Golden Age of Television – THE CRITERION COLLECTION #495)
Germany, Year Zero – THE CRITERION COLLECTION #499 (as part of Roberto Rosselini’s War Trilogy)
REVANCHE – THE CRITERION COLLECTION #502
Make Way for Tomorrow – THE CRITERION COLLECTION #505
Dillinger is Dead – THE CRITERION COLLECTION #506
Vivre sa vie – THE CRITERION COLLECTION #512
Summer Hours – THE CRITERION COLLECTION #513
Red Desert – THE CRITERION COLLECTION #522
The Secret of the Grain – THE CRITERION COLLECTION #527
Merry Christmas Mr. Lawrence – THE CRITERION COLLECTION #535
Paths of Glory – THE CRITERION COLLECTION #538
MODERN TIMES – THE CRITERION COLLECTION #543
CRONOS – THE CRITERION COLLECTION #551
The Times of Harvey Milk – THE CRITERION COLLECTION #557
Topsy-Turvy – THE CRITERION COLLECTION #558
The Mikado – THE CRITERION COLLECTION #559
Something Wild – The Criterion Collection #563
Pale Flower – The Criterion Collection #564
The Great Dictator – The Criterion Collection #565
The Makioka Sisters – The Criterion Collection #567
People on Sunday – The Criterion Collection #569
Zazie dans le métro – The Criterion Collection #570
Léon Morin, Priest – The Criterion Collection #572
The Music Room – The Criterion Collection #573
Secret Sunshine – The Criterion Collection #576
The Complete Jean Vigo – The Criterion Collection #578
The Phantom Carriage – The Criterion Collection #579
Le Beau Serge – The Criterion Collection #580
12 Angry Men – The Criterion Collection #591
Design for a Living – The Criterion Collection #592
Belle de Jour – The Criterion Collection #593
The Moment of Truth – The Criterion Collection #595
Tiny Furniture – The Criterion Collecton #597
ECLIPSE SERIES DVD REVIEWS
One Hour With You (part of Lubitsch Musicals – Eclipse Series #8)
Tokyo Chorus (part of Silent Ozu: Three Family Comedies – Eclipse Series #10)
I Was Born, But… (part of Silent Ozu: Three Family Comedies – Eclipse Series #10)
The Ascent (part of Larisa Shepitko – Eclipse Series #11)
Wings (part of Larisa Shepitko – Eclipse Series #11)
Eclipse Series #21: Oshima’s Outlaw Sixties – General Review
Pleasures of the Flesh (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Violence at Noon (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Sing a Song of Sex (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Japanese Summer: Double Suicide (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Three Resurrected Drunkards (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Eclipse Series 23: The First Films of Akira Kurosawa – General Review
Sanshiro Sugata (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
The Most Beautiful (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
Sanshiro Sugata, Part Two (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
The Men Who Tread on the Tiger’s Tail (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
Memory for Max, Claire, Ida and Company (as part of The Actuality Dramas of Allan King – Eclipse Series #24)
Eclipse Series 25: Basil Dearden’s London Underground (General Review)
Sapphire (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
The League of Gentlemen (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
Victim (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
All Night Long (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
MISC. RELEASES
Band of Outsiders (part of the “10 Years of Rialto Pictures” DVD Box Set)
Band of Outsiders – THE CRITERION COLLECTION #174 (a J!-ENT DVD Review)
June 23, 2010 by Dennis Amith · Leave a Comment
I enjoyed the playfulness, the youthfulness and how entertaining the film came to be, as well as it began to transition to include the more darker undertones. “Band of Outsiders” is just an enjoyable film by Jean-Luc Godard and a film worth having in your cinema collection! Definitely recommended!
Image courtesy of All Rights Reserved.
TITLE: Band of Outsiders – THE CRITERION COLLECTION #174
DURATION: 95 Minutes
DVD INFORMATION: Black and White, Monaural in French with English Subtitles, 1:33:1 Aspect Ratio
COMPANY: Rialto Pictures/The Criterion Collection
RELEASED: 2003
Based on the novel “Fools’ Gold” by Dolores Hitchens
Directed by Jean-Luc Godard
Music by Michel Legrand
Cinematography by Raoul Coutard
Edited by Francoise Collin, Dahlia Ezove, Agnes Guillemot
Starring:
Anna Karina as Odile
Sami Frey as Franz
Claude Brasseur as Arthur
Daniele Girard as English Teacher
Louisa Colpeyn as Madame Victoria
Chantal Darget as Arthur’s Aunt
Georges Staquet as Le Legionnaire
Ernest Menzer as Arthur’s Uncle
Narration by Jean-Luc Godard
Two restless young men (Sami Frey and Claude Brasseur) enlist the object of their desire (Anna Karina) to help them commit a robbery––in her own home. French New Wave pioneer Jean-Luc Godard takes to the streets of Paris to re-imagine the gangster genre, spinning an audacious yarn that’s at once sentimental and insouciant, romantic and melancholy. The Criterion Collection is proud to present the convention-flauting postmodern classic Band of Outsiders.
In 1964, French New Wave director Jean-Luc Godard went to work on his latest film “Bande à part” (Band of Outsiders) which was created with a small budget at around $125,000 and unlike his previous film “Contempt” which was in full color, Godard decided to go back to basics by filming in black and white and also to avoid any interjecting of politics in the film and thus many critics have called it Godard’s most accessible film because it s quite different from many of the films he has directed in the 1960′s.
“Band of Outsiders” is a film based on the novel “Fools’ Gold” by American author Dolores Hitchens and a film which Godard describes “Band of Outsiders” as “Alice in Wonderland meets Franz Kafka”. For many critics, they like to call the film a B-Noir in which the film contains noir elements but also other elements of humor and things that you would see from a French New Wave film. When it first came out in theaters in the US, not many people could understand the concept of the film and thus it didn’t do well in the theaters. But now as the film is 46-years-old, publications such as Time Magazine has selected “Band of Outsiders” as part of its “All Time 100 Movies”.
“Band of Outsiders” revolves around two wannabe criminals Arthur (Claude Brasseur) and Franz (Sami Frey). Franz who attends an English class with a young woman named Odile (Anna Karina) is told by her that a large amount of money is stashed in the villa that she lives at with her Aunt and Mr. Stoltz. Because of this, Franz has told his friend Arthur about it and immediately, Arthur sees this as an opportunity to make some money and knows that in order to make this happen, he must first gain the trust of Odile. So, Franz takes Arthur to meet her at the English class and immediately, Arthur does what he can to make Odile know that he’s interested in her.
Franz has been attracted to Odile for quite some time but because he’s so shy, he never really had the opportunity to get close to her. But Arthur has much more experience with women and immediately, uses his bad boy charm to attract Odile’s affections and thus gets her to ditch her English class and for her to join him for the day in order for him to learn from her about how much more money is inside the villa. With Odile, hooked to Arthur’s words, when she goes home she happens to finds so much money that when she tells Arthur and Franz, immediately the two start planning on how they can steal the money.
But Odile tells them to wait a few days but with Arthur having problems with other people demanding some money immediately from him, he is forced to steal the money sooner than Odile is expecting.
VIDEO:
The Criterion Collection features a transfer supervised and approved by cinematographer Raoul Coutard. According to the Criterion Collection, “Band of Outsiders” is presented in its original theatrical aspect ratio of 1:33:1. This new high-definition transfer was created on a Spirit Datacine from a 35mm duplicate negative. To further enhance the image, the MTI Digital Restoration System was used to remove thousands of instances of dirt, debris and scratches.
AUDIO:
According to the Criterion Collection, the soundtrack was mastered from a 35mm optical soundtrack. The soundtrack was mastered at 24-bit, audio restoration tools were used to reduce clicks, pops, hiss and crackle.
SPECIAL FEATURES:
The “Band of Outsiders” comes with the following special features:
- Visual Glossary – (17:58) Featuring selected quotations from “Band of Outsiders” and an explanation of the quotation.
- Godard 1964 – (5:17) Featuring Jean-Luc Godard talking about Nouvelle Vague and its Raison D’Etre with filmmaker Andre S. LAbarthe for the documentary “La Nouvelle Vague Par Elle-Meme”.
- Anna Karina – (18:26) Featuring an interview with Anna Karina, recorded in 2002. Karina talks about loving films, working with Jean-Luc Godard, Raoul Coutard, running into Claude Brasseur and more.
- Raoul Coutard – (11:00) Featuring an interview with Raoul Coutard discussing his work with Jean-Luc Godard, the challenges he had in shooting complicated scenes, the French New Wave and more.
- Les Fiances Du Pont Mac Donald – Featuring the short directed by Agnes Varda (used on Agnes’ 1962 film “Cleo From 5 to 7″) starring Jean-Luc Godard, Anna Karina, Sami Frey, Daniele Girard and more.
- Trailers – Featuring the original and the re-release trailer for “Band of Outsiders”.
EXTRAS:
“Band of Outsiders” comes with a 16-page booklet which includes the essay “Get Your Madis On” by Joshua Clover, “The Characters According to Godard” from the original press book and “No Questions Asked” featuring an interview between Godard and Godard critic Jean Collet from 1964.
“The Band of Outsiders” is a charming and enjoyable film. Is it my favorite Godard film, I would still have to give the title of “My Godard Favorite” to his 1965 film “Pierrot Le Fou” but I will say that “Band of Outsiders” manages to pull me in with its various scenes and its interesting plot. Needless to say that many Godard fans enjoy the film and even prompted Quentin Tarentino to name his production company “A Band Apart” after the French title “Bande à part”.
The title of the film “Band of Outsiders” is about these three individuals who are outsiders. From the two male characters named after Godard’s favorite authors Arthur Rimbaud and Franz Kafka, Arthur is a player and obviously have some experience breaking the law and schmoozing with women, while Franz is the silent type who you can tell is not so comfortable when his friend actually starts to win Odile’s heart. And as for Odile, an innocent girl with not much experience with being around men and she is very much a different person from these two men. When Arthur asks for a kiss with a tongue, her inexperience shows as she sticks out her tongue. But it’s how these three individuals react to each other, you wonder how in the heck can these three people get mixed up together?
But perhaps that was the winning combination that made this film work as the three characters manage to keep you’re eyes glued to the screen. Not knowing what are going to happen to them but knowing that with director Jean-Luc Godard, anything can happen and for the most part, if you submit your 95 minutes to Godard, you’re definitely in for a wild ride. The ending might be a bit bumpy but the actual ride is where you feel satisfaction as you will encounter quite a few surprises, twists and turns and that is how I feel about “Band of Outsiders”.
From Odile (Karina) looking directly to the camera when asking a question, to the moment of silence which almost seems like an eternity but at the same time, you can’t help but be amused by it. From the playfulness of Arthur and Franz play shooting each other and my two favorite scenes, when the three individuals take part in the “Madison dance” and the Louvre scene in which the three try to break the American Jimmy Johnson’s record of how fast they can see all the art inside the Louvre. How fun is that? So, I was quite amused to see that scene but really enjoyed the various scenes that just stick to your memory (a lot of Godard films tend to do that for me).
As for this DVD, “Band of Outsiders” is such an enjoyable film and having watched this film via the “Rialto Pictures – 10th Anniversary Box Set” previously, I felt that the best way to go for me was to purchase the Criterion Collection version for the special features.
Overall, I enjoyed the playfulness, the youthfulness and how entertaining the film came to be, as well as it began to transition to include more darker undertones. But the film is quite entertaining and I had a fun time watching it. Although there are other films I Godard/Anna Karina films I recommend watching before “Band of Outsiders”, the film is still worth having on your checklist of must-see Godard films.
Definitely recommended!
Made in U.S.A. – THE CRITERION COLLECTION #481 (a J!-ENT DVD Review)
March 3, 2010 by Dennis Amith · Leave a Comment
Definitely not the first film that one should watch if they want to watch and experience a Jean-Luc Godard film. But for those who have watched several of his ’60s films, especially starring Anna Karina, “Made in U.S.A.” is an appropriate goodbye to Jean-Luc Godard’s narrative filmmaking style of the ’60s and a goodbye to Anna. A solid Criterion Collection release!
Image courtesy of © All Rights Reserved.
TITLE: Made in U.S.A. – The Criterion Collection #481
DURATION: 85 Minutes
DVD INFORMATION: Color, Monaural in French with English Subtitles, 2:35:1 Aspect Ratio
COMPANY: Rialto Pictures/The Criterion Collection
RELEASED: 2009
Loosely based on the novel “The Jugger” by Richard Stark
Written and Directed by Jean-Luc Godard
Produced by Georges de Beauregard
Cinematography by Raoul Coutard
Edited by Francoise Collin, Agnes Guillemot
Production Management: Rene Demoulin
Starring:
Anna Karina as Paula Nelson
Laszlo Szabo as Richard Widmark
Jean-Pierre Leaud as Donald Siegel
Ernest Menzer as Edgar Typhus
Kyoko Kosaka as Doris Mizoguchi
Marianne Faithfull as Marianne Faithfull
Yves Alfonso as David Goodis
Jean-Luc Godard as the voice of Richard Politzer
Jeane-Pierre Biesse as Richard Nixon
With its giddily complex noir plot and color-drenched widescreen images, Made in U.S.A was a final burst of exuberance from Jean-Luc Godard’s early sixties barrage of delirious movie-movies. Yet this chaotic crime thriller and acidly funny critique of consumerism—starring Anna Karina as the most brightly dressed private investigator in film history, searching for a former lover who might have been assassinated—also points toward the more political cinema that would come to define Godard. Featuring characters with names such as Richard Nixon, Robert McNamara, David Goodis, and Doris Mizoguchi, and appearances by a slapstick Jean-Pierre Léaud and a sweetly singing Marianne Faithfull, this piece of pop art is like a Looney Tunes rendition of The Big Sleep gone New Wave.
“We were in a political movie…Walt Disney with blood.”
In 1966, Jean-Luc Godard was asked by producer Georges de Beureagard if he can create a film quickly. The answer was yes and that the can film two at the same time: “Made in U.S.A.” starring Anna Karina and Laszlo Szabo and “2 or 3 Things I Know About Her” starring Marina Vlady. It’s important to note that “Made in U.S.A.” is the final full-length film he created with his ex-wife and muse Anna Karina and the first film of singer Marianne Faithfull (a popular singer in the ’60s and also the steady girlfriend of Rolling Stones vocalist Mick Jagger at the time). While “2 or 3 Things I Know About Her” stars the woman that rejected him for marriage. So, needless to say, these two films are rather significant.
“Made in U.S.A.” is the final goodbye between Karina and Godard and “2 or 3 Things I Know About Her” is a film that shows him angered by the rejection. And also two films that mark the end of the cycle of Jean-Luc Godard who has become more of a political person and wanted to use his films to deal with internal conflict that he felt about cinema and politics.
“Made in U.S.A.” is a loose adaptation of the the book “The Juggler” by Richard Stark. The film stars Anna Karina as Paula Nelson, a Bogart-like detective who travels to Atlantic City to visit her boyfriend Richard Politzer. When she arrives, she realizes he is dead. While she investigates Politzer’s death, she runs into a few people who live and then later die. Meanwhile, she is being followed by a group of gangsters which include Laszlo Szabo as Richard Widmark and Jean-Pierre Leaud as Donald Siegel.
While the film is a noir film about Paula looking for her lover’s killers. The film has many film, literary and pop culture references but also politics and storyline that features an adaptation of the real-life murder Moroccan politician Mehdi Ben Barka and Frenchman Georges Figon (known for arranging the meeting with Barka and others before his kidnapping and torture).
Figon who left audio reels to his girlfriend/actress Anna-Marie Coffinet was a friend of Godard and thus Godard used Politzer to be a Georges Figon but Godard using the character and supplying the voice for his political message that is shown throughout the film. Within this tangled web of politics, Paula gets caught up in it and the question is of all people tangled in the web, who will be the last person standing?
VIDEO & AUDIO:
“Made in U.S.A.” is known for it’s vibrant colors. As a detective, Anna Karina’s character is known for wearing vibrant colored dresses and the film definitely does a great job showcasing those colors, especially closeups of Anna Karina’s blue eyes. This remastered version of the film looks absolutely beautiful and I can only imagine how this would look on Blu-ray (if it ever receives a BD release). It’s vibrant and colorful film!
“Made in U.S.A.” is presented in its original aspect ration of 2:35:1 and the HD digital transfer was created on a 2K Spirit Datacine from the original 35mm camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were removed manually using MTI’s DRS system and Pixel Farm’s PFClean System while Digital Vision’s DVNR was used for small dirt, grain and noise reduction.
AUDIO & SUBTITLES:
As for the audio, “Made in U.S.A.” is featured in monaural French with English subtitles. “Made in U.S.A.” was mastered at 24-bit from a 35mm optical print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube’s integrated audio workstation. The film is primarily center channel driven but I chose to have my receiver play the audio with stereo on all channels.
SPECIAL FEATURES:
“Made in U.S.A. – THE CRITERION COLLECTION #481″ comes with the following special features:
- On the Cusp – (26:28) Jean-Luc Godard biographers Colin MacCabe and Richard Brody dissect the personal the political in “Made in U.S.A.” and “2 or 3 Things I Know About Her”.
- Anna Karina – (10:08) A 2002 interview with Anna Karina looking back at her life and working with director Jean-Luc Godard.
- Laszlo Szabo – (5:46) A 2009 interview with Laszlo Szabo who appeared in several of Jean-Luc Godard’s films and talks about making “Made in U.S.A.”.
- Made in U.S.A.: A Concordance – (17:26) A video essay tracing the source of many of the references that make up the script of “Made in U.S.A.”.
- Trailers – Featuring the original release trailer and the Rialto Pictures re-release trailer.
- 16-Page Booklet – Featuring “The Long Goodbye” essay by J. Hoberman.
“Made in U.S.A.” is definitely not a film for those not familiar with Jean-Luc Godard’s work. Although there is a main story about the character of Paula investigating her lover’s murder, the film is not only heavy with references but there are a good number of political dialogue which was more or less Godard’s platform for him to get out on what was on his mind.
Although many Jean-Luc Godard films show signs of politics being used in the storyline, “Made in U.S.A.” tries to balance the film utilizing Anna Karina as this sexy, stylish detective but then using the film as a platform for politics but most importantly, for Godard to use two characters that define how he was back then as a filmmaker and then having Anna Karina taking care of the men in order to show that Jean-Luc Godard as we knew him in the past in his Anna Karina films is now no more.
“Made in U.S.A.” is the final swan song between both Jean-Luc Godard and Anna Karina. Despite being divorced at this time, she would no longer be his muse and the director would no longer be the director that many people have respected him and loved him for. His next films “La Chinoise” and “Week End” would truly mark the end of Godard’s narrative and cinematic period of his filmmaking career and from then on, Godard would be a different director focusing on revolutions and his interest in Maoist ideology and would only return to mainstream films in 1980.
This is not a film for those who are not familiar with Godard’s work or Anna Karina. I’ve met many who have watched this film solely for the purpose of the beautiful shots of Anna Karina and didn’t like the film at all. For me, my appreciation was because it was a fitting goodbye to his ex-wife. After watching this collaboration between Karina and Godard, you knew it had to end someway and “Made in U.S.A.” was the way to do it.
As incoherent this film may be to many people, I enjoyed the film in fragments. As a “noir” film, it’s not my favorite. As a Godard film, I was impressed. The cinematography by Raoul Coutard was absolutely beautiful, the awkward randomness of certain scenes was an interesting way to see a perspective of Godard as a filmmaker and as a person who faced conflict and needed an outlet to let his emotions out. Both “Made in U.S.A.” and “2 or 3 Things I Know About Her” are two different types of films made at the same time but are enjoyable in their own way.
Do I recommend “Made in U.S.A.”, yes…that is only if you have seen a good number of Jean-Luc Godard films. This by no means is a film you should start out with if you want to learn about Godard’s filmmaking style. Overall, a fantastic Criterion release and a film that I definitely enjoyed!
A Woman is a Woman – The Criterion Collection #238 (a J!-ENT DVD Review)
December 5, 2009 by Dennis Amith · Leave a Comment
Experimental, crazy and wild! “A Woman is a Woman” is a unique film that features an experimental style by Jean-Luc Godard satirizing American musicals, poking fun on relationships, deconstructing cinema and more!
Image courtesy of All Rights Reserved.
TITLE: A Woman is a Woman – The Criterion Collection #238
DURATION: 84 Minutes
DVD INFORMATION: Color, Monaural, in French with optional English subtitles, 2:35:1 Aspect Ratio
COMPANY: Rialto Pictures/The Criterion Collection
RELEASED: 2004
Directed by Jean-Luc Godard
Screenplay by Jean-Luc Godard
Produced by Georges de Beauregard, Carlo Ponti
Music by Michel Legrand
Cinematography by Raoul Coutard
Edited by Agnes Guillemot, Lila Herman
Production Design by Bernard Evein
Costume Design by Jacqueline Moreau
Starring:
Jean-Claude Brialy as Emile Recamier
Anna Karina as Angela
Jean-Paul Belmondo as Alfred Lubitsch
With A Woman Is a Woman (Une femme est une femme), compulsively innovative director Jean-Luc Godard presents “a neorealist musical—that is, a contradiction in terms.” Featuring French superstars Anna Karina, Jean-Paul Belmondo, and Jean-Claude Brialy at their peak of popularity, A Woman Is a Woman is a sly, playful tribute to—and interrogation of—the American musical comedy, showcasing Godard’s signature wit and intellectual acumen. The film tells the story of exotic dancer Angéla (Karina) as she attempts to have a child with her unwilling lover Émile (Brialy). In the process, she finds herself torn between him and his best friend Alfred (Belmondo). A dizzying compendium of color, humor, and the music of renowned composer Michel Legrand, A Woman Is a Woman finds the young Godard at his warmest and most accessible, reveling in and scrutinizing the mechanics of his great obsession: the cinema.
Director Jean-Luc Godard, one of the pioneers of Nouvelle Vague (French New Wave) was on fire. Having directed “A bout de souffle” (Breathless) which starred Jean-Paul Belmondo and in 1961 with the controversial “Le Petit Soldat” (The Little Soldier) starring Anna Karina, for this third film “Une femme este une femme” (A Woman is a Woman) brings together both Belmondo and Karina (who Godard married during the filming of the movie) and actor Jean-Claude Brialy. The film is Godard’s first film in color and CinemaScope, also a film that is a co-production with French Georges De Beauregard and Italy’s Carlo Ponti. Shot in five weeks with no script, “A Woman is a Woman” is Godard’s experiment into a film fueled by improvisation.
The film is possibly one of Godard’s most interesting and unique film in which it’s a musical, but not a musical. Godard calls it an “idea of a musical” or a “neorealist musical”. Music has its part in the film, Godard calls it a tribute to the American musical comedy. But unlike the well-known musicals, you get awkward pauses of music, when Anna Karina is about to sing, instead of the music playing through, it stops on her vocals and she sings without any music. In certain scenes, the sound is gone and you get absolute silence and the part that the film is known for, it’s improvisation as there was no written dialogue for this film. Godard told his actors what would happen and they would have to make it look convincingly real. Also, you get scenes where Godard is hidden and aims the camera at the public or a hidden camera is attached. And of course, keeping Godard’s well known style of jump shots and the talent looking directly at the camera from time to time.
“A Woman is a Woman” revolves around three people. Exotic dancer Angela (played by Anna Karina) and her love of her life Emile (played by Jean-Claude Brialy). The two live a life of enjoying time at home, as she tries to be the good girlfriend and Emile who enjoys his communist newspaper and likes to have fun with his friend Alfred (played by Jean-Paul Belmondo). Alfred who is a Marxist, absolutely loves Angela but knows her heart is with Emile. Although it doesn’t seem that Emile knows that his best friend likes his girlfriend.
But things get complicated for Angela and Emile when she tells him that she wants a baby. He has no plans of wanting to have a children but she wants one badly. Each time she brings up the issue, he gets angered. And through the film, we see how the two handle the subject of having a baby. The two seem perfect for each other as he accepts her no matter what and vice versa. When the two fight with each other, instead of arguing, they grab books and use title of the books to do the talking.
At what great lengths will Anna go through, to get pregnant? And what great lengths will Emile to avoid the issue?
VIDEO & AUDIO:
“A Woman is a Woman” is featured in color and presented in 16:9 anamorphic widescreen. Although in color, the film is not as vibrant or sharp as what we have seen in Godard’s “Pierrot le fou” and at times, some scenes look a bit blurry. According to Criterion, director of photography Raoul Coutard supervised the new high-definition digital transfer which was created on a 35mm interpositive. Thousands of instances of dirt, debris and scratches were removed using the MTI Digital Restoration System. There are scenes in which you can see the dust but Criterion did a good job in helping to eliminate most of it.
Audio is presented in monaural and features a Dolby Digital 1.0 center channel driven dialogue which is clear. But because of the use of music, I preferred to watch this film with my receiver set with stereo on all channels for a much more immersive sound using my 7.2 system. According to Criterion, the soundtrack was mastered at 24-bit from the magnetic track and audio restoration tools to reduce clicks, pops, hiss and crackle.
Subtitles are in English.
SPECIAL FEATURES:
“A Woman is a Woman” contains the following special features:
- Charlotte et Veronique ou Tous les garcons s’appellent Patrick- (19:22) Director Jean-Luc Godard’s first short film produced as a professional product from 1957. Also known as “All Boys are Called Patrick” starring Jean-Claude Brialy and written by Eric Rohmer. The film is about a man who tries to get close to two women, not knowing that Charlotte and Veronique are roommates.
- Publicite - Featuring a photo gallery (which you can scroll via your remote control) of photos by Raymond Cauchetier from the set of “A Woman is a Woman”, photos of director Jean-Luc Godard during the filming of the movie and international posters of the film. Also, included is an audio promotional recording (34:14) made for the release of “A Woman is a Woman” which was pressed on 10″ vinyl records and is presented on the DVD with on-screen English translation. Pretty much select audio from the film between Emile, Angela and Alfred and featured on audio and Godard talking about the film and yes, you get that needle on vinyl sound as well. Also, the Rialto Pictures theatrical trailer (2:32).
- Qui Etes-Vous Anna Karina? - (13:05) A featurette on Anna Karina from April 1966 directed by Colette Djidou and was featured on “Cinema: Qui etes-vous Anna Karina?”. The featurette interviews Karina about her career and how she got her first big break (interview those who gave her the chance of modeling) and becoming an actress. Also, you get to see Anna during a time when things between her and Godard were not working out and eventually divorced a year later. Also featuring Jean-Claude Brialy, Serge Gainsbourg and more.
- 24-page booklet – Featuring “A Woman is a Woman” essay by J. Hoberman (film critic for the Village Voice) and “A Movie is a Movie” by Michele Manceaux which are two interviews featured in the French Magazine L’Express back in 1961.
“A Woman is a Woman” is an interesting kind of film. For one, I enjoy it for Godard’s technique and what he accomplished during this time of filmmaking. But the question is if the film holds up for those watching it today? I would imagine that “A Woman is a Woman” would be a bit frustrating for some viewers not familiar with Godard’s work and may feel a bit too unusual and experimental for their taste.
Godard’s feeling at the time was “if you don’t like it, then screw you”. He made films for himself and I suppose where later films became much more political, “A Woman is a Woman” was a satire of American musicals but at the same time, his way of poking around relationships and doing things his own way. “A Woman is a Woman” has its charming moments and as some cinema fans might feel that those who enjoyed the film are diehard Godardites or fans that are hardcore Anna Karina fans, I suppose that in my case, its one of the reasons why I was a bit patient and even more tolerant of the film.
I found it charming and the characters to be fun, but bare in mind, these characters are not your typical clean cut men and an educated woman. Angela is a stripper, Emile is a man who doesn’t make much money and likes to watch women to stripper bars and even have fun with other women while still dating Angela. And Alfred is a Marxist who is in love with his best friend’s girl and wouldn’t care what his friend thinks. In most cases, characters like these three can easily be hated or reviled but in “A Woman is a Woman”, because the film is featured in a musical (or un-musical) type of way, you don’t really hate them, you just find them charming in their own kind of way.
There are scenes in the film that just make you smile, may it be references to “Breathless” or “Jules et Jim”, Cyd Charisse, Gene Kelly or Bob Fosse. Or the scenes in which Angela tries to cook a roast for Emile or an egg for herself. How about their way of arguing through using the titles of books or how the music goes on and then off and then on and then off. I just found that unique and so enjoyable that I can imagine how audiences probably saw this film as so avant-garde back in 1962.
But I see “A Woman is a Woman” more of an experimental film with Godard trying out improvisation and trying to crank out a film in the quickest amount of time possible but still trying to make it enjoyable. It’s one of his earlier films but I will admit to enjoying Godard’s “Masculin Feminine”, “Band of Outsiders” and “Pierrot le fou” much, much more. But yet I still enjoyed this film as it was so un-Hollywood. Almost rebellious filmmaking in a way as Godard deconstructs cinema.
And as Angela would say during the film, “I don’t know if it’s a comedy or a tragedy, but in any case it’s a masterpiece.” Is “A Woman is a Woman” a masterpiece? Or is it experimental filmmaking at its best? I’ll leave that to the viewer.
The Battle of Algiers – THE CRITERION COLLECTION #249 (a J!-ENT DVD Review)
December 5, 2009 by Dennis Amith · Leave a Comment
Stunning, gripping, shocking and as relevant as it was in the 60′s, it is even relevant today! Gillo Pontecorvo’s 1966 masterpiece is given the best treatment on DVD by the Criterion Collection with the remastered, uncensored version of the film and plenty of special features in a fantastic 3-DVD disc box set. Absolutely a must-own DVD set! Highly recommended!
Image courtesy of All Rights Reserved.
TITLE: The Battle of Algiers – The Criterion Collection #249
DURATION: 121 Minutes
DVD INFORMATION: Black and White, Monaural in French and Arabic with Optional English Subtitles, 1:85:1 Aspect Ratio, 16×9
COMPANY: Rialto Pictures/The Criterion Collection
RELEASED: 2004
Directed by Gillo Pontecorvo
Based on the true story by Saadi Yacef
Written by Gillo Pontecorvo, Franco Solinas
Executive Produced by Fred Baker
Produced by Antonio Musu, Yacef Saadi
Cinematography by Marcello Gatti
Edited by Mario Morra, Mario Serandrei
Production Design by Sergio Canevari
Set Decoration by Sergio Canevari
Costume Design by Giovanni Axerio
Starring:
Brahim Hadjadj (Haggiag) as Ali La Pointe
Jean Martin as Col. Mathieu
Saadi Yacef as El-hadi Jaffar
Samia Kerbash – Fatiha
Ugo Paletti – Captain
Fusia El Kader a Hassiba
Mohamed Ben Kassen as Petit Omar
One of the most influential political films in history, Gillo Pontecorvo’s The Battle of Algiers (La bataille d’Alger) vividly re-creates a key year in the tumultuous Algerian struggle for independence from the occupying French in the 1950s. As violence escalates on both sides, children shoot soldiers at point-blank range, women plant bombs in cafés, and French soldiers resort to torture to break the will of the insurgents. Shot in the streets of Algiers in documentary style, the film is a case study in modern warfare, with its terrorist attacks and the brutal techniques used to combat them. The Criterion Collection is proud to present Gillo Pontecorvo’s tour de force—a film with astonishing relevance today.
It was 1966 when the film “The Battle of Algiers” (La battaglia di Algeri) was released to the masses. A war film about the war in Algiers covering what took place between November 1954 through December 1960, during the Algerian War of Independence and director Gillo Pontecorvo covered both sides between the Muslim Algerians fighting for Independence and the French who were fighting against terrorism. The film is regarded as an important classic and is Pontecorvo’s masterpiece. The film won the Venice Film Festival Grand Prize, nominated for three Academy Awards for “Best Screenplay”, “Best Director” and “Best Foreign Language Film”.
The film gained notoriety as it had the reputation for inspiring political violence and tactics from the film were copied by the Black Panthers and Provisional Irish Republican Army. The film was banned in France for five years and the original American and British releases cut any scenes involving the French torture of Muslim Algerians.
But the film was also looked at as useful for training as the film was shown as part of counter-insurgency classes in the 60′s. Shown in Israel by the Left-Wing to show that Israel’s occupation in the West Bank and Gaza Strip was futile. And in 2003, the film was screened at the Pentagon with a flier for the screening being circulated as “How to win a battle against terrorism and lose the war of ideas. Children shoot soldiers at point-blank range. Women plant bombs in cafes. Soon the entire Arab population builds to a mad fervor. Sound familiar? The French have a plan. It succeeds tactically, but fails strategically. To understand why, come to a rare showing of this film.”
For years, people only had access to pirated copies of the film and censored versions until restoration was done in 1999 and was obtained by Rialto Pictures for distribution. The Criterion Collection released “The Battle of Algiers” with a special 3-disc DVD set (released back in 2004) that is to say the least, is fantastic and possibly one of the most complete, in-depth Criterion releases I have yet seen to date. It’s important to note that in this film, there were no news or documentary footage used in the making of the film. The mass crowds and everything you seen for the film was shot by Pontecorvo and crew.
The film covers a time when Algiers was part of French Colonial rule (which lasted from 1830 to 1962) and a place where hundreds of thousands of European immigrants (who have been given the name of “pieds-noirs”) moved settled in the country of Algeria in North Africa which is home to Muslims. Back then, everyone but the Muslims were given rights similar to France and thus fueled many who wanted political autonomy and independence from France. Because the Muslims were not given a voice, it led to a new wave of violence in the city of Algiers which came in full force in 1954.
The film begins with French soldiers under Colonel Matthieu (played by Jean Martin) who have tortured a Muslim to the point of breaking. They dress him in French soldier fatigues in order to get him to talk about where the insurgents belonging to the FLN (National Liberation Front) are hiding and then when the soldiers have stormed a building where three of the FLN are hiding behind a wall. We see the face of Ali La Point (played by Brahim Hadjadj).
The movie then shifts to 1954 where the FLN are trying to recruit people to fight against the French and fight for their independence. For Ali, he tries to make money (hustling) where people are gambling on the street but immediately, the police start coming after him. While running away, a group of young French youth seeing Ali running away and one guy tripping him, this leads to Ali punching him in the face. Then the French youth start beating on him and Ali is apprehended by the police. Ali receives two years in prison for vandalism and insulting a police officer on duty.
It is when Ali is incarcerated in which he sees how fellow Muslims are treated. In one scene, one man is executed via beheading. Upon his release from prison, he receives a note that he is to to kill a policeman. It is a test by the FLN to see if Ali, would do such a thing in which he nearly does and immediately meets El-hadi Jaffar (played by Saadi Yacef) who recruits him to the FLN, which is a budding organization who wants to grow their numbers and eradicate their society from whores, drunks and junkies but first they must win them over or eradicate them.
We then see a large group of young children who have been recruited by the FLN, going after a drunk and beating him. Then we see Ali going to a drug dealer, a former friend of his and giving him one last chance to join the FLN or die. The man attacks Ali, prompting Ali to shoot him down. By 1956, we see the members of the FLN consisting of young adults and teenagers murdering Algerian police officers and stealing their weapons. The French civilians have grown weary towards the Muslims and each time there is an attack, they immediately lay blame to any Muslim nearby.
With the number of deaths of police officers, we then see a French police chief who is told to have a curfew in the city, make sure the police stations are well-guarded, closing off streets but he doesn’t agree and thus he and a few French civilians take matters into their own hands by placing a bomb in the middle of a Muslim neighborhood in which many innocent families, children are killed. This incident is what leads to Muslims starting get together and many joining the FLN to fight for their independence.
What transpires afterward is more violence as women working for the FLN now disguised as normal civilians have now gone to public civilian hangouts such as clubs and cafe’s and placing bombs and thus in the process of retaliation, killing innocent French civilians. In 1957, the French sends a large group of French paratroopers from the 10th Airborne Division led by Col. Matthieu to take on the rebel activity in Algiers by rounding up anyone who can deemed as terrorists and interrogating and torturing them for information.
Matthieu’s goal is to capture or kill those who are leading the group of FLN insurgents which include Ali La Pointe and El-hadi Jaffar. Squashing the FLN and winning the battle of Algiers.
And as we know from history from this battle, the French won the battle of Algiers but because of what these soldiers did to Muslims, it gave the Muslims more strength in numbers to fight back and in essence, leading the French to lose the war and giving the Algerians their independence.
The significance of director Gillo Pontecorvo’s “The Battle of Algiers” is that it was released in theaters three years after the Algerian war where tensions were still strong, Pontecorvo’s ability to recreate situations that transpired during 1954-1962 and most importantly, to have one of the largest mass crowds used in a film. It’s relevance today is because in this film we see children becoming soldiers, innocent Muslims who had nothing to do with destruction being targeted by civilians, women dressed as normal citizens planting bombs in civilian areas such as cafe’s and dance clubs but also the French soldiers who rounded up people they believe were insurgents and tortured them. Pontecorvo wanted to show the perspective from both sides of the war. The side of the Muslim Algerians who fought for their independence and had enough of their people being killed or held by French authorities and on the French side, the civilians rooting for the military trying to stop the violence brought by the Muslim terrorists.
To say the least, the film is quite epic and what was accomplished by Pontecorvo is amazing and what the Criterion Collection was able to do with this DVD release is simply fantastic!
VIDEO & AUDIO:
“The Battle of Algiers” is presented in black and white with an aspect ratio of 1:85:1. According to the Criterion Collection, the film is presented in its original theatrical aspect ratio and was supervised by director of photography, Marcello Gatti. The new HD transfer was created on C-Reality from a 35mm restored fine-grain master positive. Thousands of instances of dirt, debris and scratches were removed using the MTI Digital Restoration System. The blacks are nice and deep and although there are scenes that are high in grain, the picture quality for this 40+ year-old film is fantastic.
As for the audio, the audio is presented in Dolby Digital mono. According to Criterion, the soundtrack was mastered at 24-bit from a 35mm optical print track and audio restoration tools were used to reduce clicks, pops, hiss and crackle. The film is center channel driven but I chose to have my receiver set the audio for stereo on all channels, which I found to be fantastic for those with a 5.1 or 7.2 or higher setup. Audio is presented in French and Arabic.
Subtitles are in English and subtitles are nice and clear with a black stroke around the character type.
SPECIAL FEATURES:
“The Battle of Algiers” contains the following special features:
Disc 1:
- Production Gallery- A collection of production stills of the cast and crew at work in Algiers and the Casbah. Also, included are posters and lobby cards promoting the international release of “The Battle of Algiers”.
- Theatrical Trailers - Featuring the original 1966 theatrical trailer (4:00) and the 2004 Rialto Pictures re-release trailer (2:23).
Disc 2:
- Gillo Pontecorvo: The Dictatorship of Truth – (37:30) A 1992 documentary presented by the late literary critic Edward Said about Gillo Pontecorvo’s life and film career, what he accomplished with “The Battle of the Algiers”. From his earlier years heading a resistance in Northern Italy to his approach on filmmaking. Also, interesting tidbits on his work on other films especially the difficulty of working with Marlon Brando for the film “Burn” and more.
- Marxist Poetry: The Making of the Battle of Algiers – (51:19) Pontecorvo biographer Irene Bignardi with the help of Pontecorvo, producer and actor Saadi Yacef, cinematographer Marcello Gatti, composer Ennio Morricone and actor Jean Martin, Editor Mario Morricone and film critic Tullio Kezich recall the development, production and release of “The Battle of Algiers”. Discussion how Pontecorvo was a perfectionist and would do 50 takes of one line and discussion of scenes that the director and crew went to make it look believable onscreen and more.
- Five Directors - (17:16) A featurette featuring directors Spike Lee, Mira Nair, Julian Schnabel, Oliver Stone and Steven Soderbergh discussing the film’s influence, style and importance. Also, the discussion if the film was a balanced perspective by Pontecorvo and if a film like “The Battle of Algiers” can be made today.
Disc 3:
- Remembering History – (1:08:47) A 2004 documentary that reconstructs the Algerian experience of the battle for independence. Featuring interviews with historians and revolutionaries including military leader Saadi Yacef.
- Etats d’armes – (28:24) A 2002 documentary from part 3 of Patrick Rotman’s “L’Ennemi Intime” featuring senior French military officers recalling the use of torture and execution to combat the rebellion.
- The Battle of Algiers: A Case Study – (24:32) In this 2004 documentary features Richard A. Clarke, author and former national counter-terrorism coordinator discussing the film’s relevance with Michael A. Sheehan, former State Department coordinator for counter-terrorism, in a conversation moderated by Christopher E. Isham, chief of investigative projects for ABC News.
- Gillo Pontecorvo’s Return to Algiers – (58:05) In this 1992 episode of Italian TV program “Mixer”, the show covers Pontecorvo’s return to Algiers, three decades after its independence but also the turbulence in the country which includes the assassination of Algerian President Mohamed Boudiaf, the frustration of the Algerian people and the meeting of Pontecorvo between Boudiaf three days before his assassination.
Also, included is a 58-page booklet, which includes Peter Matthews essay “The Battle of Algiers: Bombs and Boomerangs”, an excerpt from Saadi Yacef’s book “Souvenirs de la bataille d’Alger”. Also, included is the following scene from the original screenplay by Gillo Pontecorvo and Franco Solinas and the close relationship with Saadi Yacef’s experience, an interview with Franco Solinas by PierNico Solinas which includes the original scenario of “The Battle of Algiers”. The booklet also includes selected biographies from participants in the French-Algerian War by Arun Kapil.
Prior to buying this set, one of the reasons that I held out was because I thought it was simply a DVD set that focused on violence and really, I didn’t know if this was a film that I could get into.
Prior to watching “The Battle of Algiers”, I had no knowledge of the French-Algerian war nor “The Battle of Algiers” but just reading from critics and cinemaphiles writing about how it’s a must-see film but for years, I skipped over it because I simply was not in the mood to engage in a film about revolutions or terrorism because I see this on the daily news everyday.
But I decided that enough was enough, no more waiting and it was time to give the “The Battle of Algiers” a try and make the purchase. It took me about a week to go through this 3-DVD box set of “The Battle of the Algiers” and I have to say that this is one of the most complete, must-buy sets for those who are fans of Criterion Collection films. I found it to be absolutely gripping and its filmmaking and the various shots and the mass crowds that Pontecorvo was able to get on film is amazing. I have never seen any film like it in my life and to think that what was featured was without a use of a green or blue screen and any CG work is incredible.
But if anything, Pontecorvo’s film is those type of films that makes you think… can you blame either side? No one is innocent in this film. Both sides have committed atrocities towards each other. But what is important is what The Criterion Collection has done for the viewer and that is include many supplements that are a half hour to more than an hour long and to absorb information coming from those who filmed the movie, those who were involved and incarcerated during the war, the French soldiers who were involved int he war and then to hear from other filmmakers of the importance of the film. This is a solid release! Again, this is a significant release that I’m really impressed with and I hope that the Criterion Collection considers this film for a Blu-ray re-release. “The Battle of Algiers” was relevant then as it is now. And as so many have told me once before and now I’m proud to say it now, The Criterion Collection’s release of “The Battle of Algiers” is highly recommended!
Masculin Féminin – THE CRITERION COLLECTION #308 (a J!-ENT DVD Review)
November 26, 2009 by Dennis Amith · Leave a Comment
Fantastic! Jean-Luc Goard’s perspective of Parisian youth in 1965 and their perspective on politics, love, sex and more. Unique for its time and still wonderful today! Wonderful and natural performances by the main talents and just a youth film that is crafted like no other. Highly recommended!
Image courtesy of All Rights Reserved.
TITLE: Masculin Féminin – THE CRITERION COLLECTION #308
DURATION: 105 Minutes
DVD INFORMATION: Black and White, Monoraul, In French with optional English subtitles, 1:33:1 aspect ratio
COMPANY: The Criterion Collection/Rialto Pictures
RELEASED: 2005
Based on stories “La Femme de Paul” and “Le Signe” by Guy de Maupassant
Written and Directed by Jean-Luc Godard
Produced by Anatole Dauman
Music by Jean-Jacques Debout
Cinematography by Willy Kurant
Edited by Agnes Guillemot, Marguerite Renoir
Starring:
Jean-Pierre Léaud as Paul
Chantal Goya as Madeleine
Marlène Jobert as Elisabeth
Michel Debord as Robert
Catherine-Isabelle Duport as Catherine Isabelle
Brigitte Bardot as herself
Antoine Bourseiller as Bardot’s director
Francoise Hardy as Woman with American officer
Birger Malmsten as Man in the movie
Eva-Britt Strandberg as Woman in the movie
Elsa Leroy as Miss 19
Mickey Baker as Record producer
Med Hondo as Man in the metro
With Masculin féminin, ruthless stylist and iconoclast Jean-Luc Godard introduces the world to “the children of Marx and Coca-Cola,” through a gang of restless youths engaged in hopeless love affairs with music, revolution, and each other. French new wave icon Jean-Pierre Leaud stars as Paul, an idealistic would-be intellectual struggling to forge a relationship with the adorable pop star Madeleine (real-life yé-yé girl Chantal Goya). Through their tempestuous affair, Godard fashions a candid and wildly funny free-form examination of youth culture in throbbing 1960s Paris, mixing satire and tragedy as only Godard can.
It was in 1966 that Nouvelle Vague (French New Wave) director Jean-Luc Godard (“Contempt”, “Breathless”, “Pierrot le fou”) would release his film about youth in the mid-60′s titled “Masculin féminin: 15 faits précis”.
Released after the successful “Pierrot le fou” (1965), “Masculin féminin: 15 faits précis” would become a different film by Godard standards as it would focus on Parisian youth in 1965 but also start to show signs of a different Godard (who separated from Anna Karina, who was a major actress in his films) and also a precursor to his films incorporating his political views. But as for the characters featured in “Masculin féminin: 15 faits précis”, call the young adults that were a sign of the times or as Godard would call them, “the children of Marx and Coca-Cola”.
The film would star French New Wave icon Jean-Pierre Léaud, best known for the Antoine Doinel films by Francois Truffaut and specifically known as the troublesome main character of the classic film “The 400 Blows”. Léaud plays the character Paul, a romantic idealist who is a Marxist, loves classical music, an aspiring writer who has fallen for emerging pop star Madeleine (played by singer/actress Chantal Goya).
“Masculin féminin: 15 faits précis” showcases the masculine side as Paul and his friend Robert (played by Michel Debord) are interested in politics. Both young men talk about their role in society, the revolution and ideals and although mischievous, these two young men are guys who want to hook up with young ladies. And as for Paul, he can’t help but be interested and curious about Madeleine, a young woman who is the total opposite of himself.
Madeleine, along with her friends are interested in fashion, pop music, pop culture and discussion of sex. They are not as serious as Paul nor do they consider the importance of what is happening politically in their country or other countries a factor in their current lives. They simply don’t care. And yet Madeleine has nothing in common to Paul but the two are attracted to each other.
Madeleine’s best friend Elizabeth is outgoing and constantly warns Paul that its best to find a girl because they are not the kind of girls that are for him. But yet Paul disagrees and wants to spend his whole life with Madeleine. Meanwhile, as for Elizabeth, the film teases the viewer as perhaps she and Madeleine may have some attraction towards each other. As we see scenes of Elizabeth gently caressing Madeleine’s hair or face, in which Madeleine doesn’t seem to mind. As for their other friend, Catherine-Isabelle, she is quite different from the two. She does love the pop culture and having fun, but similar to Paul, she can appreciate his love for prose and his passion towards classical music, that you feel she is most perfect for him but Paul doesn’t think of her in that manner.
So, in terms of relationships – Paul likes Madeleine. Elizabeth likes Madeleine. Richard likes Madeline’s style but since Paul is going for Madeleine, Richard goes for Catherine-Isabelle, who happens to have an interest in Paul. Relationships that can easily sound confusing but in truth, the film is not about the conflicts of relationships, its about the lives of young adults trying to find themselves in the world.
Paul who feels that after he served the military, he sees a side of Madeleine and her friends that he possibly wants to change or accepts because she is her own person. While Madeleine, has this attraction towards Paul and not sure if its out of curiosity or that that she is lonely. But for all five individuals, they are not living for the future, they are living for the now and what happens…happens.
“Masculin féminin: 15 faits précis”is episodic as it tries to showcase various acts from showcasing moments of discussions about their youth, their love or attraction for each other, discussions of sex and birth control, the politics especially the view towards American involvement in the Vietnam War and also how France was starting to incorporate American style which can be disruptive to those who subscribe to a socialist or communist belief.
But its what makes the film so unique. There are many enjoyable moments but the film is disrupted by certain moments. Telling the audience to not get comfortable because this film is not going to be your average film. This is not a film where from beginning to end, you are going to watch a relationship or relationships blossom. This is not that type of film. This is a film about Parisian youths and what goes on their minds. Your children of Marx and Coca-Cola. Which side to they belong to?
“Masculin féminin: 15 faits précis” was scrutinized and lambasted by critics during its release in 1966, many of those critics who have revisited the film have taken back what they originally have said and now realize how it is one of Godard’s best films and some have considered it a masterpiece that was ahead of its time.
VIDEO & AUDIO:
“Masculin féminin” is featured in black and white and presented in 1:33:1. Cinematographer Willy Kurant supervised the new high-definition digital transfer which was created on a Spirit Datacine from the 35mm grain master. Also, thousands of instances of dirt, debris and scratches were removed from the MTI Digital Restoration Ssytem.
As for the audio, the French monoraul soundtrack was mastered at 24-bit from the optical soundtrack master and audio restoration tools were used the Criterion to remove clicks, pops, hiss and crackle. The film is Dolby Digital 1.0 and center channel driven but for those who own modern home theater surround sound receivers, one can easily switch the audio via audio on all channels or stereo, to their own preference. Also, included is a selection for the the optional isolated music track.
Subtitles are in English.
SPECIAL FEATURES:
“Masculin féminin” comes with the following special features:
- Chantal Goya (1966) - (4:50) An excerpt of an interview filmed for the TV show “Au-Dela De L’Ecran”, Goya talks about being a pop star and working on “Masculin féminin“.
- Chantal Goya (2005) - (15:07) Interview with Chantal Goya in 2005 as she talks about her experience working with Jean-Luc Godard and on “Masculin féminin“.
- Willy Kurant - (11:59) 2005 Interview (in English) with “Masculin féminin“cinematographer about his career and working with Godard.
- Jean-Pierre Gorin - (15:36) A 2005 interview (in English) in which Godard’s Dziga-Vertov Group business partner talks about the historical and experimentation of “Masculin féminin“.
- Freddy Buache and Dominique Paini - (24:56) In 2004, Freddy Buache (film critic and founder of Cinematheque Suisse) and Dominque Paini (Director of Cultural Development for the Centre Georges Pompidou in Paris) talk about the importance of “Masculin féminin” and how Buache criticized it when it was first released but now considers it an important Godard film.
- Godard on Swedish Television – (4:07) With “Masculin féminin” being a co-production between Godard’s Anouchka Films and the Swedish Production Firm Sandrews Films, a Swedish television crew were there to interview the director who was filming the “movie” scene.
- Original Theatrical Trailer – (2:01) The original theatrical trailer.
- Rialto Pictures Rerelease Trailer – (1:53) Remastered Rialto Pictures trailer.
- Essay Booklet - 14-page booklet featuring an essay “The Young Man for All Times” by Adrian Martin (film critic for the Melbourne Age) and “On the Set of Masculin Feminin” (an excerpt from the article “One Evening, In a Small Cafe” by Phillipe Labro.
“Masculin féminin: 15 faits précis” is quite a unique film, so unique that it was a film which I absolutely enjoyed. It’s not a film that one can come and watch and say, I enjoy “Breathless” or “Pierrot le fou”, I will love “Masculin féminin: 15 faits précis”. Nor is it a film in today’s modern world where you can think that if you enjoyed young adult films such as “Dazed and Confused” or “Metropolis” that you will enjoy “Masculin féminin: 15 faits précis” because the structure of the film is so different. There are way too many disruptions for the film’s pacing and odd situations that either one can appreciate them or simply dislike them. Especially when you reach the ending.
I absolutely loved the improvisation and also the long use of dialogue between characters. I have said that I enjoyed Eric Rohmer’s “My Night at Maud’s” for effectively making long dialogue scenes so enjoyable but yet intelligent. If one can capitalize on moments in a film where communication is done effectively. And since the film was created with a low budget,Godard made great use of dialogue. In fact, because Godard didn’t use a script, he had earpieces in which the talent were filmed answering questions that the director would ask them. He would effectively use the talent, tell them what to say on the earpiece and try to get an improvised but yet natural answer in which topics would bring out that awkwardness.
For example, a scene where Paul interviews “Miss 19″, an actual beauty cover girl for a magazine that is being asked questions, even personal questions about sexuality, her past loves and political views. Her answers were not of an actress but her genuine answers. You can sense that uncomfort in her answers but that’s what Godard wanted for this film. True feelings by people who represent that young generation in Paris.
As for the DVD, The Criterion Collection has done a magnificent job in restoring this film, supervised by cinematographer Willy Kurant. A good number of special features that are interesting, informative and enjoyable. It was great to hear from Chantal Goya sharing some of the Godard behind-the-scenes direction with the viewer. How the discussion about Madeleine’s music career was actually a dialogue about her own music career but Godard using it on the film. And of course, Jean-Pierre Léaud is just a talented actor that both Francois Truffaut and Godard knew how to utilize in their films (despite Truffaut being a bit critical on how Godard handled him for this film). We sense a young man who is trying to make sense of his life. Has a set perspective yet being with a woman who is nothing like him nor does she want to be like him.
Masculin féminin: 15 faits précis” is a film that is definitely not a perfect film. In fact, because there are quite a few disruptions and the pacing is quite frantic at times, some people may see it as a film that is too artsy for its own good. As mentioned earlier, critics really blasted Godard for this film when it was first released. But the fact was, it was a film ahead of its time and what we have is a time capsule of youth, Paris during the mid-60′s that now, many people who lived during that time, can watch this film and say, “this film was a masterpiece”.
Overall, “Masculin féminin: 15 faits précis” is a film that is not only worth of being included in the Criterion Collection but also a Godard film worth owning. Highly recommended!
