Why did Godard love type casting his own wife? Seriously, Karina plays a backstabbing femme fatale type in almost all of those films
>Alphaville
>Le Petit Soldat
>Pierre le Fou
each more devious than the last
Remember when he made her cry in an interview? I can't imagine what they were like in private.
>>67676662
I'm sorry to inform you sir that this is a board where we discuss capeshit and waifus exclusively. We don't take too kindly to your films here.
>>67676733
>Anna Karina
>not a waifu
>>67676662
Godard was kind of the worst person to ever be a renowned director.
There's an interview that she's sitting next to him for where he basically tells the interviewer that he's just using her in the same way Von Sternberg used deitrich. And she ends up in tears.
It's pretty clear that he didn't respect her much as a human being.
>>67676771
actors are cattle except in the bedroom I guess
>>67676871
Nope.
You just suck.
>>67676662
Interestingly enough, Alphaville and Pierrot le fou are the only two Godards I've liked so far. Maybe she's just too qt.
Can someone explain the appeal of Breathless to me? I remember being unimpressed by it on my first viewing and was wondering if it was worth a second.
>>67677497
Godard is essentially important only because of his experimentation.
Breathless actually wasn't meant to be experimentation though. He had shot the movie with no script and no real plan so all of his scenes ended up being absolute garbage. Jean-pierre Melville who actually has a cameo in the movie looked at it with him and told him that he should just cut to the parts where people actually said things important to the plot. That's what the movie is known for, the jump cuts. It's also a pretty poor parody of Hollywood with a message that roughly translates to "don't take movie plots too seriously".
It was "impressive" to 60s French counterculture essentially because it stood in opposition to the very calculated sometimes considered fake Cinema that France had been producing prior.
>>67677750
Okay, thanks man. I suppose I found the sci-fi aesthetic and negative imagery of Alphaville and unapologetic frivolity of Pierrot le fou much more appealing than jump cuts. But I can appreciate its cultural relevance.
>>67678375
Yeah Godard is really a filmmaker that is only important to filmmakers. He did a lot to stretch the bounds of film grammar. Almost none of it is appealing in the slightest to general audiences or to anyone looking for deeper meaning.
He's not much of a thinker which is why you can safely ignore any Godard film that came out after 67 even if you are a film scholar. His Maoist phase stuff is awful.
i feel like ive been waiting years to post this on /tv/
>>67676728
things got a little rocky:
>Godard and Anna Karina married in 1961. She starred in many of his subsequent films, including “A Woman Is a Woman,” “Vivre Sa Vie,” “Alphaville,” and “Pierrot le Fou,” which used various American movie genres—science fiction, melodrama, romance, the musical—to frame collages of sociology, philosophy, poetry, politics, and outright caprice. The director and his star made a glamorous pair in those years, cruising around Paris in their big Ford, but the marriage was tempestuous. Godard would often disappear; later, Karina would learn that he had been out of the country. As she put it, “He told me, ‘I’m going out for a pack of corn-paper cigarettes,’ and he came back three weeks later.”
>In 1964, Jacques Rivette, who had just directed Karina in a stage adaptation of Diderot’s “La Religieuse” (which Godard financed), told a journalist, “He and his wife have achieved perfect harmony in destroying each other.” The screenwriter Paul Gégauff described paying a visit to the couple, only to find Godard “stark naked” in a freezing-cold room that had been totally destroyed: “All his clothes and Anna’s were lying on the ground in tatters, the sleeves slashed with a razor, in a mess of wine and broken glass. . . .I noticed Anna on a sort of dais in the far corner of the room, also quite naked. . . .‘I’d offer you a glass of something,’ he said, ‘only there aren’t any glasses left.’ Then: ‘Go and buy us a couple of raincoats so that we can go out.’ "
http://www.newyorker.com/magazine/2000/11/20/exile-paradise
