A legacy of gifts
Whenever I first see a film by Jean-Luc Godard.
1978, the old Union Française in Park Houses. Stroll up the creaky wooden steps past the Dalí banners for the French Rail lines, or put your life in danger in the old enclosure lift that swings angrily, winching you up. On the subsequent floor, the French language classes. On the third floor, close to the library where the French books and magazines radiate an exceptionally specific musk, the screening space. Here, two 16mm projectors add their warm,
pellicular drift, their bars in some way or another avoiding the thin point of support that stands squarely in the center of the room. The issue with Une Femme est Une Femme is that it’s shot in CinemaScope, with a lot more extensive edge than the ‘typical’ 35mm; so the film is projected with a band of point of support shadow bifurcating the picture towards the left. It doesn’t make any difference.
What is important is that you’re in a stuffed crowd, at last watching one of Godard’s movies, animals you’ve just learned about till now; what makes a difference is the Gallic olfactory universe blending with the Lake’s bath powder worn by the object of want sitting close to you, still in her Loreto uniform, her French such a ton better than yours that she can chuckle at the jokes before the captions completely unfurl. The outlining is trendy, of a sort you’ve not seen previously;
the varieties and structures are Mondrianesque, with the goal that the point of support shadow both disturbs and adds to the image. There’s likewise sweet disarray in the odd cutting, the weird utilization of tunes, the blaze outlines, the unexpected utilization of text — entire eros of lensing, sound, and montage. Afterward, in other French movies, the flight of stairs and the lift from Park Houses appear to have been shipped to Paris or the other way around. Not long after this,
other Godard films are on offer at the Partnership and Chitrabani; a couple of the 60s hits, coming full circle in Pierrot Le Fou at the Collusion, by which time the CinemaScope issue is settled by making the picture somewhat more modest. By which time, solidly supported by Anna Karina and Jean-Paul Belmondo, the flight of stairs with the blurring Dalí banners has turned into a site for first, genuine French kisses.A legacy of gifts
In the early Godard films, the focal subject generally is by all accounts love and desire, and how power and information ram into them. In the science fiction Alphaville from 1965, the all-controlling artificial intelligence PC is collapsed by its failure to handle the word, ‘love’ On the off chance that his movies were a sort of food, even back home it tasted unique, not the same as the movies of the incomparable Calcutta magistrate, the same as the other
French New Wave films, not quite the same as our new wave, from everyone. Here, the work is re-Made in the USA: observing a portion of a similar Godard film, the companions sitting close to you chuckle at better places than at home. The kisses are more ordinary in any case, with regards to a developing colleague with Western woman’s rights, the inquiries and examination around kissing have one more taste. Mas-cu-lain! Fe-mi-nain! A lot of us understudies run down Bleecker Road, moving these words in our mouths, yelling them out to distracted, un-Godarded bystanders.A legacy of gifts
However. The more you see of Godard’s ‘progressive period’,
(approximately 1968-72) the more the aggravations mount. What’s with the unbridled adoration for Mao and his China? What’s with the Dark Jaguar scenes in 1+1/Compassion toward Satan where pretentious, macho people of color declaim from progressive texts while gunning down white ladies in virginal nighties? What’s with this fetishization of the self-loading rifle and hack communism? An enemy of tribute shot from today:
a man approaches a wall and showers red letters on it — MAO. Before long, a passing lady sees the spray painting and stops. She takes out a splash can from her pack and adds one more letter in white. LMAO, Ignoring My Butt, except what the Incomparable Helmsman unleashed on his kin chokes all giggling.A legacy of gifts
In contrast to moving to Cal, in late 70s Amerika, nobody’s listening such a huge amount to the Beatles or the Stones anymore; similarly, individuals have continued from JLG’s extraordinary 60s hits — they’re substantially more keen on his new video tests from the 1970s.
This work is at the focal point of conversations about sexuality, how ladies are addressed on the screen, about what sound and picture together can do. Child/Picture. The extraordinary wisecracker, visual and text-based, has thought of another: in French, child signifies ‘sound’ yet in addition ‘his’, so sound/picture is likewise his/picture. And afterward, similarly, as you’re getting your teeth into the multifaceted, hostile to highlight film palimpsest of Numéro Deux, Monsieur Le Comedian is back with a ‘regular’ show film in Sauve Qui Peut.
A title card streaks in the head: that obsessive-compulsive person Godard didn’t extra even his demise. However, at that point you take a gander at the meeting JLG does on a US television show in 1980 about Sauve Qui Peut. In his mid-50s, retreating hair, behind the notorious concealed glasses the Groucho Marx eyebrows on which he imparts rental to Leonid Brezhnev and Salman Rushdie.
His English familiar, however strangely touched in a unique way more Italian than French. The answers to questions shine with a gigantic mind and show a solid handle of contemporary American culture. And then a similar man, forty-odd years after the fact, attempted to participate in a Zoom discourse with an Indian film researcher during the IFFK in 2021.