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Godard - Le Mépris - 6/11

Length: 9:58
Rating: ( ratings)
Views:
Author: 21458922

Tags: Bardot Fritz.Lang Godrad Le.Mépris Palance Piccoli

Subtitled; Aka: Contempt. Director: Jean-Luc Godard; Script: Jean-Luc Godard; based on the novel "Il Disprezzo" by Alberto Moravia; Photo: Raoul Coutard; Music: Georges Delerue;Cast: Brigitte Bardot (Camille Javal), Michel Piccoli (Paul Javal), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Fritz Lang (lui-même) Paul Javal is a former detective novel writer who is engaged by the film producer Jeremy Prokosch to re-write a film about Homer's Odyssey. Prokosch is at odds with his director, Fritz Lang, who wants to capture the glory and realism of Greek antiquity, whilst Prokosch is after a film that will simply make big bucks. Javal agrees to take on the work but soon discovers that his wife, Camille, has begun to despise him for his lack of conviction. Javal saw himself as a great play writer and now he has succumbed to the attraction of Prokosch's chequebook. Should he choose between his failing marriage or his new job - or is it too late to decide? On the surface, this is probably Jean-Luc Godard's most conventional film, with expensive location work, a large cast with some star names. Conspicuous by their absence are the cynical intellectual humour, the harsh editing, the over-use of jump cutting, and much of Godard's other stylish devices. Yet the film is as subversive and as reactionary as any which Godard directed -- except here he achieves that aim within the parameters of what is an ostensibly conventional film. Based on a novel by Alberto Moravia (A Ghost at Noon), Le Mépris explores the conflicting interests of a film producer, director and writer. This is set against the disintegrating marriage of the film's writer. Cleverly, the film being made (The Odyssey) parallels the lives of the main protagonists in the story -- Javal is Odysseus, his wife is Penelope and the producer Prokosch is Odysseus' rival, Poseidon. These different overlaying strands give the film great depth and heighten the sense of tragedy which is unfolding in the lives of Javal and Camille. Of the lead actors, Brigitte Bardot is the one that is best used by Godard. Even in scenes where the dialogue is split equally between her and her co-star, Michel Piccoli, it is on her that the camera lingers, longingly. However, here, unlike in so many lesser films, the intention is not purely exploitative. Far from being cheap pornography, Raould Coutard's photography of Bardot is sublimely artistic and genuinely beautiful. With Georges Delerue's haunting and evocative musical score the overall effect is deeply moving, prefacing the Greek tragedy that is to come. Towards the end, the sense of beauty is captured and conveyed so vividly that it almost hurts to watch it. Bardot, Coutard and Godard make a marvellously inspired trio. The stark realism of Bardot's performance in this film led one journalist (possibly encouraged by Godard) to promulgate one of cinema's greatest myths - that the actress's real name was in fact Camille Javal. Beneath the surface, Godard's dissatisfaction with the conventions of film-making are all to apparent. Aside from the far from subtle in-jokes about chequebooks and mermaids, Godard attacks the shallowness and opportunism that besets so much of modern film making. The virtues of honest expressionism and artistic integrity are all too willingly sacrificed in the pursuit of box office receipts and short term fame. That Godard manages to pull this off so successfully in a film that appears, on the surface, to contradict his thesis, is a sign of great courage and unfaltering genius.

Godard - Le Mépris - 5/11

Length: 9:57
Rating: ( ratings)
Views:
Author: 21458922

Tags: Bardot Fritz.Lang Godrad Le.Mépris Palance Piccoli

Subtitled; Aka: Contempt. Director: Jean-Luc Godard; Script: Jean-Luc Godard; based on the novel "Il Disprezzo" by Alberto Moravia; Photo: Raoul Coutard; Music: Georges Delerue;Cast: Brigitte Bardot (Camille Javal), Michel Piccoli (Paul Javal), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Fritz Lang (lui-même) Paul Javal is a former detective novel writer who is engaged by the film producer Jeremy Prokosch to re-write a film about Homer's Odyssey. Prokosch is at odds with his director, Fritz Lang, who wants to capture the glory and realism of Greek antiquity, whilst Prokosch is after a film that will simply make big bucks. Javal agrees to take on the work but soon discovers that his wife, Camille, has begun to despise him for his lack of conviction. Javal saw himself as a great play writer and now he has succumbed to the attraction of Prokosch's chequebook. Should he choose between his failing marriage or his new job - or is it too late to decide? On the surface, this is probably Jean-Luc Godard's most conventional film, with expensive location work, a large cast with some star names. Conspicuous by their absence are the cynical intellectual humour, the harsh editing, the over-use of jump cutting, and much of Godard's other stylish devices. Yet the film is as subversive and as reactionary as any which Godard directed -- except here he achieves that aim within the parameters of what is an ostensibly conventional film. Based on a novel by Alberto Moravia (A Ghost at Noon), Le Mépris explores the conflicting interests of a film producer, director and writer. This is set against the disintegrating marriage of the film's writer. Cleverly, the film being made (The Odyssey) parallels the lives of the main protagonists in the story -- Javal is Odysseus, his wife is Penelope and the producer Prokosch is Odysseus' rival, Poseidon. These different overlaying strands give the film great depth and heighten the sense of tragedy which is unfolding in the lives of Javal and Camille. Of the lead actors, Brigitte Bardot is the one that is best used by Godard. Even in scenes where the dialogue is split equally between her and her co-star, Michel Piccoli, it is on her that the camera lingers, longingly. However, here, unlike in so many lesser films, the intention is not purely exploitative. Far from being cheap pornography, Raould Coutard's photography of Bardot is sublimely artistic and genuinely beautiful. With Georges Delerue's haunting and evocative musical score the overall effect is deeply moving, prefacing the Greek tragedy that is to come. Towards the end, the sense of beauty is captured and conveyed so vividly that it almost hurts to watch it. Bardot, Coutard and Godard make a marvellously inspired trio. The stark realism of Bardot's performance in this film led one journalist (possibly encouraged by Godard) to promulgate one of cinema's greatest myths - that the actress's real name was in fact Camille Javal. Beneath the surface, Godard's dissatisfaction with the conventions of film-making are all to apparent. Aside from the far from subtle in-jokes about chequebooks and mermaids, Godard attacks the shallowness and opportunism that besets so much of modern film making. The virtues of honest expressionism and artistic integrity are all too willingly sacrificed in the pursuit of box office receipts and short term fame. That Godard manages to pull this off so successfully in a film that appears, on the surface, to contradict his thesis, is a sign of great courage and unfaltering genius.

2006 Tought Truck Comp

Length: 7:47
Rating: ( ratings)
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Author: nostopinLucR

Tags: 1990 4x4 bc canada compition crash darcy event ford luc morning nostopin ranger rimmer rivest side victoria wheelin

Morning Side's Darcy Rimmer enters his freshly rebiult 1990 Ford Ranger, needs rebiulding again, oouch!!!

Rasko & Mégane

Length: 2:21
Rating: ( ratings)
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Author: mlovehorse

Tags: ardeche cheval chevaus galop la laluc luc

Rasko et mégane a la luc...

Godard - Le Mépris - 4/11

Length: 10:6
Rating: ( ratings)
Views:
Author: 21458922

Tags: Bardot Fritz.Lang Godrad Le.Mépris Palance Piccoli

Subtitled; Aka: Contempt. Director: Jean-Luc Godard; Script: Jean-Luc Godard; based on the novel "Il Disprezzo" by Alberto Moravia; Photo: Raoul Coutard; Music: Georges Delerue;Cast: Brigitte Bardot (Camille Javal), Michel Piccoli (Paul Javal), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Fritz Lang (lui-même) Paul Javal is a former detective novel writer who is engaged by the film producer Jeremy Prokosch to re-write a film about Homer's Odyssey. Prokosch is at odds with his director, Fritz Lang, who wants to capture the glory and realism of Greek antiquity, whilst Prokosch is after a film that will simply make big bucks. Javal agrees to take on the work but soon discovers that his wife, Camille, has begun to despise him for his lack of conviction. Javal saw himself as a great play writer and now he has succumbed to the attraction of Prokosch's chequebook. Should he choose between his failing marriage or his new job - or is it too late to decide? On the surface, this is probably Jean-Luc Godard's most conventional film, with expensive location work, a large cast with some star names. Conspicuous by their absence are the cynical intellectual humour, the harsh editing, the over-use of jump cutting, and much of Godard's other stylish devices. Yet the film is as subversive and as reactionary as any which Godard directed -- except here he achieves that aim within the parameters of what is an ostensibly conventional film. Based on a novel by Alberto Moravia (A Ghost at Noon), Le Mépris explores the conflicting interests of a film producer, director and writer. This is set against the disintegrating marriage of the film's writer. Cleverly, the film being made (The Odyssey) parallels the lives of the main protagonists in the story -- Javal is Odysseus, his wife is Penelope and the producer Prokosch is Odysseus' rival, Poseidon. These different overlaying strands give the film great depth and heighten the sense of tragedy which is unfolding in the lives of Javal and Camille. Of the lead actors, Brigitte Bardot is the one that is best used by Godard. Even in scenes where the dialogue is split equally between her and her co-star, Michel Piccoli, it is on her that the camera lingers, longingly. However, here, unlike in so many lesser films, the intention is not purely exploitative. Far from being cheap pornography, Raould Coutard's photography of Bardot is sublimely artistic and genuinely beautiful. With Georges Delerue's haunting and evocative musical score the overall effect is deeply moving, prefacing the Greek tragedy that is to come. Towards the end, the sense of beauty is captured and conveyed so vividly that it almost hurts to watch it. Bardot, Coutard and Godard make a marvellously inspired trio. The stark realism of Bardot's performance in this film led one journalist (possibly encouraged by Godard) to promulgate one of cinema's greatest myths - that the actress's real name was in fact Camille Javal. Beneath the surface, Godard's dissatisfaction with the conventions of film-making are all to apparent. Aside from the far from subtle in-jokes about chequebooks and mermaids, Godard attacks the shallowness and opportunism that besets so much of modern film making. The virtues of honest expressionism and artistic integrity are all too willingly sacrificed in the pursuit of box office receipts and short term fame. That Godard manages to pull this off so successfully in a film that appears, on the surface, to contradict his thesis, is a sign of great courage and unfaltering genius.