Landmark French movie that turns the tragi-comic story of small time criminal Michel Poiccard/Laszlo Kovacs (Belmondo) obsessed with both Bogart and an aspiring American journo (Seberg) into a major masterpiece of fickle hedonism. Cigarettes hats sunglasses and determined unconformity make Belmondo a true cinematic icon playing against the stunning Seberg to a sharp jazz score in the coolest of cities. Crafted with elusive spontaneity Godard's nervy style still looks as good as ever.
Cinema's original enfant terrible, Jean-Luc Godard was one of the leaders of the French New Wave, a key influence on American cinema of the 1970s and one of the few true auteurs still making movies. A maverick force from the beginning, when his debut film Breathless (1959) tore up the cinematic rulebook, Godard has continued to inspire and challenge moviegoers throughout a career that spans more than four decades. This essential collection contains Breathless, Une Femme est une Femme, Le Mépris, Alphaville and Pierrot Le Fou all presented in this stunning box-set. Extras: Breathless Introduction by Colin MacCabe Godard, Made in USA Room 12. Hotel de suede Jean-Luc according to Luc Jefferson Hack Interview Tempo Godard Episode Jean Seberg Featurette Trailer Posters Une femme est une femme Introduction by Colin MacCabe Interview with Anna Karina Posters Photo Gallery Le Mépris Introduction by Colin MacCabe Once Upon A Time There Was...Contempt Contempt...tenderly The Dinosaurs and the Baby Conversation with Fritz Lang Trailer Alphaville Introduction by Colin MacCabe Interview with Anna Karina Posters Trailer Pierrot le fou Introduction by Colin MacCabe Interview with Anna Karina Godard, Love and Poetry Film Analysis by Jean-Bernard Pouy Trailer German TV advert Posters
If you use stars, people will give you money. And so Jean-Luc Godard and Jean-Pierre Gorin went to work on what would be their first commercial narrative feature since coming together to form the radical Dziga-Vertov-Group filmmaking collective in the aftermath of May 68. Enter Yves Montand and Jane Fonda as the stars, the latter of whose public support for the militant cause could serve as mutually beneficial for her own revolutionary credentials and for the publicity of Godard and Gorin s film itself. Tout va bien [Everything s Going Fine] places Fonda and Montand in the roles of Her and Him, that is, a modern couple representative of the middle-class global bourgeoisie circa 1972. She s a radio journalist at the French bureau of the American Broadcasting System; he s an advertisement director who before 68 s social upheavals served as a Nouvelle Vague screenwriter. Through Fonda s and Montand s star-personas, Godard and Gorin investigate how the sausage is made , both metaphorically (movie financing) and literally (industrial food processing), in the process questioning what it means to be involved or engaged socially, politically, and romantically. Taking a cue from the tricolour of the French flag, Godard and Gorin adopt the language of Frank Tashlin to discover whether or not, four years on, May 68 s revolutionary spirit has not already been perverted into a living pop-art Looney Tunes, with society having finally transformed into a playground of consumption and commodity. With its bravura scenes of a factory cross-sectioned like a dollhouse (a nod to Tashlin-protégé Jerry Lewis s film The Ladies Man) and an oscillating supermarket tracking-shot (one of many quotations of Godard s 60s work such as Weekend, La chinoise, Le mépris, and à bout de souffle), Tout va bien remains a vital film of the 1970s and for a world gone out-of-control. SPECIAL EDITION CONTENTS: High-definition digital transfer High-definition Blu-ray (1080p) and standard-definition DVD presentations Original uncompressed monaural audio Optional English subtitles Letter to Jane: An Investigation About a Still (1972), Godard and Gorin s 55-minute film analysing the infamous photo of Jane Fonda meeting with the North Vietnamese published shortly after the release of Tout va bien Video interview with Jean-Pierre Gorin from 2004 about his work with Godard Vintage footage from the set of the film interviewing Godard Reversible sleeve featuring alternate artwork FIRST PRESSING ONLY: 48-page full-colour booklet containing English translations for the first time of writing on the film by David Faroult and Godard and Gorin, and a facsimile presentation of the film s original pressbook
Gleefully putting into practice D W Griffith's maxim that all you need to make a film is a girl and a gun, Bande à part (The Outsiders) is Godard's playful tribute to the Hollywood pulp crime movies of the 1940s, executed with typically Gallic cool. Franz and Arthur, a couple of streetwise chancers, team up with the shy Odile (a beguiling performance from Anna Karina, Godard's wife and muse at the time) to plan a robbery. As the trio of misfits roam the cafes of suburban Paris, do a lightning tour of the Louvre, and play-act shoot-outs, the suspicion grows that this is one heist that is not going to go according to plan. As well as superb photography by Raoul Coutard and music by Michel Legrand, Bande à part features one of the most exhilarating dance sequences in film, which so impressed Quentin Tarantino that he paid homage to it with John Travolta and Uma Thurman in Pulp Fiction, and named his production company, Band Apart, after the film. Shot in just 25 days, Bande à part was greeted with puzzlement and even distaste when first released. Over the years it has become one of Godard admirers' favourite films and is one that no French film collection should be without.
Made In USA
'Bande A Part' is Jean-Luc Godard's playful tribute to the Hollywood pulp crime movies of the 1940s executed with typically Gallic cool. Franz and Arthur a couple of streetwise characters team up with the shy Odile (Anna Karina) to plan a robbery. As the trio of misfits does a lightning tour of the Louvre roams the cafes of suburban Paris and play-acts shoot-outs the suspicion grows that this is one heist that is not going to go according to plan...
A 5-disc box set featuring 5 gems with the magnificent Jean Paul Belmondo taking center stage!
Masculine/Feminine was Jean-Luc Godard's first (but not the last) foray into the burgeoning Children of the Sixties generationor, as Godard described it, the children of Marx and Coca-Cola . Impressionable teenager Jean-Pierre Leaud tries to make sense of the world by working as an interviewer for a research firm. Meanwhile, Leaud cohabits with aspiring singer Chantal Goya, with two additional young ladies joining the nocturnal festivities. Leaud jumps or is pushed from a window, leaving a pregnant Goya to move on to the next aimless youth she meets. While the nominal hero has failed to find fulfillment in personal relations, another male protagonist (Micheal Deborb), a political activist, is luckier an indication that the director favored revolutionary politics over simple emotionalism at this point in his career. Though Godard's free-form style is usually opposed to linear storytelling, Masculine Feminine has solid literary roots, having been inspired by two Guy de Maupassant.
Pierro escapes his boring society and travels from Paris to the Mediterian Sea with Marianne a girl who is chased by hit-men from Algeria. They lead a unortodox live always on the run.
A cockeyed fusion of science fiction pulp characters and surrealist poetry Jean-Luc Godard's irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution on a mission to kill the inventor of fascist computer Alpha 60.
Sympathy For The Devil was made at a time when The Rolling Stones were at the peak of their creative powers and Jean-Luc Godard who after making some of the great French New Wave cinema had taken a revolutionary political direction with his filmmaking. Down the years the film has been seen in two versions and has been distributed both as Sympathy For The Devil and One Plus One this product now presents audiences with the opportunity to experience both versions.
Jean-Luc Godard returns with THE IMAGE BOOK, a bracing, beautiful and confrontational essay film interrogating our relationship with film, culture and global politics. Soundtracked by a deeply immersive audio mix, it splices together classic film clips and newsreel footage, often stretched, saturated and distorted almost beyond recognition. Winner of the Cannes Special Palme d'Or, this is a journey through layers of light and darkness, sound and silence, innocence and guilt sometimes disturbing, often moving and always deeply visceral.
Michel Poiccard (Jean-Paul Belmondo), an ex-airline steward turned hoodlum, steals a car and heads to Paris. Discovering a gun in the car's glove department, he uses it to shoot and kill a cop who tries to wave him down. He wants to escape to Italy with his American girlfriend Patricia (Jean Seberg), but the police are after him, and he is distracted by all the pleasures Paris has to offer.Story-wise, Jean-Luc Godard's A Bout De Souffle (1960) (aka Breathless) is pretty thin, but as its director always proclaimed, you don't need much in the way of narrative to make a movie. Sometimes a girl and a gun are quite enough. The effortlessly cool and laconic Belmondo mirrors the director's mischief and flamboyance. With his fat cigarette stub perched on his bottom lip, his shades, his felt hat and white socks, he looks like a cross between a left-bank intellectual and an American gumshoe (perhaps his beloved Bogart). With her close-cropped hair and New York Herald Tribune T-shirt, his girlfriend (Jean Seberg) is equally stylish. A Hollywood star (she had appeared in the lead in Otto Preminger's Saint Joan in 1957 when she was still a teenager), the Iowa-born Seberg is turned by Godard into the lithe embodiment of European radical chic.The film has a spontaneity that studio-bound offerings of the time missed by a mile. Cameraman Raoul Coutard uses natural light and real locations whenever possible. Lots of the pet tricks in the movie--jump cuts, whip pans and improvised tracking shots--have been copied relentlessly by imitators ever since. A Bout De Souffle, though, is unique: anarchic, liberating and hugely stylish, "the best film around now", as its trailer proclaimed. It made Godard, almost overnight, into "the world's most discussed, interviewed and quoted filmmaker". --Geoffrey MacnabOn the DVD: Godard's greatest movie has been lovingly transferred to disc by Optimum, and comes with several extras including trailers and production notes and an old Godard short, Charlotte Et Son Jules, also starring the swaggering, arrogant Belmondo. --Geoffrey Macnab
One of the world's most influential filmmakers and a leadign figure of the Nouvelle Vague movement of the 60's, Jean-Luc Godard's works have trnasformed the face of cinema. 'Weekend' remains one of the most legendary, audacious and acclaimed films of his distinguished career. It follows a bickering, scheming, bourgeois couple who leave Paris for the French countryside to claim an inheritance by nefarious means. Almost immediately, they become entangled in a cataclysmic traffic jam, which is just the beginning of a journey fraught with violent and dangerous encounters: rape, murder, pillage and even cannibalism. Famed for its virtuoso cinematography - including a stunning ten-minute tracking shot - Godard's dystopian road movie is a ferocious attack on consumerism
Jean-Luc Godard's ferocious run of ground breaking 1960s commercial features neared a terminus point as the filmmaker turned his gaze onto the nascent left-wing student organisations coalescing on university campuses across France and environs. The resulting film was his searing masterpiece La Chinoise a mordant satire, pedagogical treatise, political tract, and pop-artwork-plus blood rolled into one. It's early '67 and Radio Peking's in the air for the Aden Arabie Cell, a Maoist collective holed up in a sprawling flat on Paris's rue de Miromesnil the newly purchased actual residence of Godard and then-wife and star Anne Wiazemsky. Véronique (Wiazemsky) and her comrades, including Jean-Pierre Léaud (The 400 Blows, Out 1) and Juliet Berto (Out 1, Céline and Julie Go Boating) lead a series of discussions and performative skits addressing matters of French colonialism, American imperialism, and the broader conflict raging in Vietnam. A meditation on the efficacy of violent protest and militant counteraction played out between Wiazemsky (conducted by Godard via radio-earpiece), and her then-tutor philosopher Francis Jeanson gives way to a plot to assassinate the Soviet minister of culture a red-handed point of no going-back on the path to complete radicalisation. A tour-de-force of the primary-palette images the household images,' perhaps of Godard's early career, La Chinoise serves as both cautionary tale and early sign of fascination with the political currents that would soon lead to the next period of JLG's life and work. The revolution is not a dinner-party. SPECIAL EDITION CONTENTS: High Definition (1080p) Blu-ray presentation Original LPCM Mono 2.0 audio Optional English subtitles Audio commentary by film historian James Quandt Interviews with actor Michel Semeniako, assistant director Charles L. Bitsch and second assistant director Jean-Claude Sussfeld Denitza Bantcheva on La Chinoise, the author discusses the film and its politics Behind-the-Scenes TV Report featuring footage with Godard and the cast Venice Film Festival press conference featuring Godard and scenes from the production Theatrical trailer Reversible sleeve featuring original and newly commissioned artwork by Matthew Griffin FIRST PRESSING ONLY: Illustrated collector's booklet containing vintage writing by and discussions with Jean-Luc Godard and beyond: passing through the landmark Struggling on Two Fronts interview; the Two Hours with Jean-Luc Godard journal; notes on Anne Wiazemsky's 2012 memoir-novel Une année studieuse [A Studious Year]; a tribute to Wiazemsky, Léaud, and Berto; vintage archival imagery; newly translated material; and more.
Available on DVD for the first time! This little-seen French drama chronicles the intertwining paths of lowlifes and criminals living in a Paris hotel telling the story in two overlapping narratives. In the first strand an unhappily married couple Franoise and Emile Chenal (Nathalie Baye and Claude Brasseur) tries to collect a debt from a boxing manager who has ties to the mob. In the second story a hotel detective and his nephew Inspector Neveu (Jean-Pierre Laud) spend thei
Jean-Luc Godard's eagerly awaited Eloge de l'Amour was one of the highlights of the 2001 Cannes Film Festival, dividing critics between those who loved its extraordinary beauty and those who found it hard to discern an overall theme from a multitude of contending threads. Certainly the plot is elusive. A young writer (Bruno Putzulu) wants a dark-haired woman (Cecile Camp) to play a role in his evolving project, a study of the four stages of love: meeting, physical passion, separation and reconciliation. By the time the funding comes through, she has killed herself and he looks back to the time when he might, or might not have met her before. Above all, the picture explores the blurred territory between the personal and the collective memory and the difference between a life which is simply lived and one in which the individual brings the power of imagination to their existence. Ultimately, the characters remain curiously faceless and the film fragments into a kaleidoscope of merging images, colours and landscapes and collective experience triumphs.Godard's legendary status as the godfather of French New Wave cinema has long since passed into the realms of cliché. Here, the "present" is shot on the streets of Paris in black and white. Godard's city of light looks as timeless as it did back in 1966 when he made Masculin Feminin. The second part of the film is shot in digital video, absorbing the audience with its electrically intense, mesmerising colours. Eloge de l'Amour is, more than anything, a sensual experience. Godard provokes but doesn't provide any answers. But fans of his more polemical work will enjoy the satirised American producers who want to purchase the rights to the Resistance couple's story. Americans have no memory, says the author. So they buy it from others. Godard never was a fence-sitter. --Piers Ford On the DVD: the main DVD extra on this disc sounds enticing: an interview with one of the worlds most innovative and influential directors. Yet the reality is disappointing, as its merely a transcript. The biography is more of the same. The only other additional feature is the subtitles, though theres no option to turn them off. --Nikki Disney
To say that Jean-Luc Godard's fourth feature, Vivre sa vie (1962), is about a young Parisian woman who drifts into prostitution would be roughly as useful as saying that Taxi Driver is about the problems facing the Manhattan transportation system. It's true that Godard did, in the 60s, seem to have a bee in his bonnet about the oldest profession, and it went on to buzz ever more angrily the more he cuddled up to the doctrines of Marx, who instructed him that under late capitalism we are all prostitutes. It's also true that one section of Vivre sa vie, which is divided up into a dozen tableaux, offers a bland, documentary-style account of the French sex industry that could have been made for a news and current affairs slot. Even so, it's clear--especially four decades on--that whoredom is only one of the many topics on Godard's hyperactive brain. The scenes which you take away from the film aren't the sexy bits (which are few, and almost glacially offhand) but the exasperating, perverse or anguished bits: Nana, the heroine (Anna Karina) alone in a cinema, silently weeping at and for the silent vision of Maria Falconetti in Carl Dreyer's La Passion de Jeanne d'Arc; Nana in a pool hall, improvising an artlessly peppy dance routine; Nana in a café, endlessly talking Plato, Hegel and Kant with the grizzled, real-life philosopher Brice Parain. In short, the truest subject of Vivre sa vie--and it is a rich one--is nothing other than its star, Anna Karina, the piercingly beautiful model who had married her director just a year before, and who obviously inspired him to perplexity, rapture and despair. Technically, the film is insouciant to the point of arrogance--Godard constantly fiddles around with the soundtrack, the camera movements and framing as if all the usual rules of cinema were a pair of itchy underpants--and yet the film aches with melancholy. It's unlikely that the video will make many new converts, but for those willing to pay the price of admission to Godard's world (and the price includes boredom), the reward is one of the strangest and most troubling love letters in the history of cinema--apart from Godard's half-dozen other films about his wife, that is. --Kevin Jackson
Angela a striptease artist wants to have a baby and tries to persuade her boyfriend Emile to go along with the idea. Emile will have none of it so she goes after Emile's friend Alfred.
In celebration of the film's 60th anniversary, BREATHLESS has been stunningly restored in 4K. Based on a story by François Truffaut and photographed by New Wave legend Raoul Coutard, Jean-Luc Godard's jazzy riff on Film Noir features iconic performances from Jean-Paul Belmondo as an on-the-run criminal modelling himself on Bogart, and Jean Seberg as his NY Herald Tribune-hawking American student girlfriend, who ultimately betrays him. With a pace that's non-stop, BREATHLESS reinvented the grammar of movies and almost instantly changed the course of international filmmaking. Celebrate where it all began with Belmondo and Seberg - young, effortlessly stylish and in love in Paris - in one of the coolest films ever made. A brand new 4K restoration in celebration of the film's 60th Anniversary Extras: NEW Still not Breathless, NEW Trailer, Room 12, Hotel de Suede, Introduction with Jefferson Hack, Film Presentation by Colin MacCabe, Tempo - Godard Episode
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