Jean-Luc Godard
125 connections found
Filmography
Vivre Sa Vie 1962 
Breathless 1960 
Band of Outsiders 1964 
Contempt 1963 
Alphaville 1965 
Pierrot le Fou 1965 
In Praise of Love 2001 
Nouvelle Vague 1990 
Weekend 1967 
Goodbye to Language 2014 
A Woman Is a Woman 1961 
Hail Mary 1985 
La Chinoise 1967 
Every Man for Himself 1980 
Le Petit Soldat 1963 
Masculin Féminin 1966 
King Lear 1988 
For Ever Mozart 1996 
Sympathy for the Devil 1968 
Film Socialisme 2010 View:
Connections, in both directions
The Dreamers (2003)
Directed by Bernardo Bertolucci
influenced by Band of Outsiders (1964), Breathless (1960), La Chinoise (1967), Contempt (1963)
Visuals Themes
In other words, the threesome's delight in replaying scenes from Band of Outsiders and Jules and Jim is shared by the director, for whom the art of making love to the French New Wave is nothing new.
Suddenly idle, they spend their time trading memories of beloved films and even acting them out -- in one scene, the trio re-enact the race through the Louvre from Godard'sBand of Outsiders.
Instead, they spend their days recreating moments from classic cinema (they go tearing through the length of the Louvre, hoping to beat the time of the characters in "Band of Outsiders"), debating film theory (including the inevitable discussion on the worth of Jerry Lewis) and engage in trivia contests, with those unable to supply the correct answer forced to pay an embarrassing "penalty".
Matthew, Isabelle, and Theo ( Louis Garrel ) cocoon themselves in the twin's apartment and test each other through a series of games, acting out favorite scenes from the films that inspire them; in an inspired move of his own, Bertolucci integrates classic scenes seamlessly into the plot: breathless Anna Karina running through the Louvre in Jean-Luc Godard's Band of Outsiders is followed by breathless Eva Green racing the same halls.
Perhaps the most exciting scene has our heroes leaving their apartment for a rare trip into Paris, duplicating the scene in Godard's Band of Outsiders where the three main characters race through the Louvre in record time.
(Could Bertolucci's 30-year-old Last Tango in Paris be anything but Breathless for heavy breathers, complete with climactic big bang?)
Unsurprisingly for Godard, there are icons, totems, and references galore, from the hat and slacks the screenwriter Paul Javal (Michel Piccoli) wears in homage to Dean Martin’s character in Some Came Running to his wife Camille’s (Brigitte Bardot) preference for tucking her traffic-stopping blond locks underneath a wig that could represent a cheeky reference the hairstyle of Godard’s own wife at the time, Anna Karina.
Additionally, Godard pays tribute to several of his favorite films here, including several by Lang, Howard Hawks' Hatari!, Roberto Rossellini's Voyage in Italy, Vincente Minnelli's Some Came Running and many more.
The husband once penned crime novels and now finds himself as both whore and pimp, in his own mind he's Dean Martin in Some Came Running.
Finally, there is Vincente Minelli's Some Came Running, in which Dean Martin always wears a hat for luck (which Paul mimics in Contempt), and who takes it off only in honor of the woman who gave her life for the struggling artist hero (Frank Sinatra), just as the death of a woman in Contempt releases (one hopes) an artist.
There’s an old joke that’s designed to be funny ha-ha for men but is, I suspect, only bitterly funny for most women: “Show me the most beautiful woman in the world, and I’ll show you the guy who’s tired of fucking her.” Jean-Luc Godard’s Contempt is many things: a free-verse editorial on the unholy alliance between art and commerce, a meditation on sea and countryside as landscapes of infinite sadness, a whirring phrasebook of intellectual thought that name-checks Dante, Bertolt Brecht, and Dean Martin in Some Came Running.
6. Vincente Minnelli's Some Came Running (1959).
Godard's trademark torrent of references and aphorisms is typically wide-ranging, but here they often have a specific and direct application, such as Godard's homage to Jean Renoir's "La Chienne."
"I thought of You Only Live Once, and instead of the Lolita or La chienne kind of couple, I wanted to tell the story of the last romantic couple�"…
The French Dispatch of the Liberty, Kansas Evening Sun (2021)
Directed by Wes Anderson
influenced by Masculin Féminin (1966), La Chinoise (1967)
Music Visuals Themes
“Revisions to a Manifesto” draws on Jean-Luc Godard’s Masculin féminin —even borrowing Chantal Goya’s pop song, “Tu m’as trop menti.”
On the other hand, it reminded me of “Masculin Féminin,” one of my favorite Godard movies.
There’s the aforementioned sheer concentration of material, of course, but also the unabashed New Yorker fandom (many if not most of the French Dispatch staff have real-life New Yorker counterparts, and at least two of the tales are based on real pieces), the cinematic homages to the French New Wave (especially Godard’s La Chinoise in the second section), and the nostalgic veneration of high/fine/French culture.
Si se quiere se trata de un homenaje a la cultura francesa desde el que recorrer, entre 1950 y 1970, todos y cada uno de los arquetipos que han configurado una forma de ver el mundo a la que no son ajenas ni el cine de Jacques Tati o Carné o Truffaut ni el Tour ni La Chinoise .
Though the plot mechanics of Breathless are as old as Scarface--one of the many touchstone films mentioned in Godard's irreverent trailer for the movie, and George Raft's quarter-flipping is likely the inspiration for Belmondo's tic-like ritual of rubbing his lips--but the upstart director busts all of the boundaries off the genre and flaunts the rules of moviemaking to boot.
He would later joke that he thought he was making "Scarface" (meaning the 1932 Howard Hawks film) and only found out later that he was making "Alice in Wonderland."
La La Land (2016)
Directed by Damien Chazelle
influenced by Weekend (1967), Nouvelle Vague (1990)
Visuals Themes
A traffic jam is usually not a good thing at the beginning of a movie - think of Godard's Weekend or 8 ½ or Falling Down - but here it is the opportunity for a truly thrilling song and dance routine on a four lane overpass.
Any thoughts that this could be related to Jean-Luc Godard’s famous traffic jam from his absurdist Weekend are immediately dispelled when a young, beautiful female driver begins singing “Another Day of Sun.”
The feeling of gridlock dread is overpowering, akin to Jean-Luc Godard’s new wave classic, “Weekend” (1967), but as we settle in through the car window of one calm young woman in a sheer yellow dress, she begins to sing a wistful song in a soft, low key.
Kicking memories of similar tailbacks in Godard’s Weekend and Fellini’s 8 ½ aside, the drivers leap from their cars and sing along to the ironically exuberant Another Day of Sun .
That is to say, it’s a love letter to the Hollywood movies of the 40s and 50s, to Fred Astaire , Cole Porter, Technicolor et al, but refracted through the nouvelle vague’s peculiar mix of romanticism and realism.
"That was my Jude the Obscure," he says, gazing at the shelf when finally returning to his former house; loaded onto an ambulance after a row with Linney, he quotes Belmondo's misogynistic Breathless epitaph.
He speaks like a character in a Harold Pinter play -- "an ex-student of mine, now a friend, is feting me with a dinner" -- and never passes up an opportunity to drop names ("It's Mailer's favorite of my books," "There was a woman who approached me at a party at George Plimpton's") or to show off how erudite he is: Even when he's facing a life crisis Bernard finds time to reminisce about director Jean-Luc Godard's "Breathless."
High-Rise (2015)
Directed by Ben Wheatley
influenced by Alphaville (1965), Weekend (1967)
Visuals Themes
The Brutalist architecture and cold sterility of the building suggests Jean-Luc Godard's Alphaville, and the polished futurism and stiffly remote characters are reminiscent of François Truffaut's Fahrenheit 451.
An ideal adaptation of Ballard's novel might look something like Crash, Fight Club and Delicatessen crossed with Godard’s Weekend.
The Girlfriend Experience (2009)
Directed by Steven Soderbergh
influenced by Vivre Sa Vie (1962)
Visuals
In both metaphor and technique, The Girlfriend Experience echoes such '60s-vintage Jean-Luc Godard films as My Life to Live and Two or Three Things I Know About Her.
Judge is indifferent to anything resembling space or rhythm, yet the low-tech chintz of his approach ultimately enhances the caustic themes by making the futuristic atmosphere absurdly transparent; as with Godard's Alphaville, we are already living in the future, for how wide a gap really separates Date Movie and Failure to Launch from Ass, the single, unchanging shot of a gassy, naked butt topping box-office charts in 2025?
Frances Ha (2013)
Directed by Noah Baumbach
influenced by Band of Outsiders (1964), Pierrot le Fou (1965), Nouvelle Vague (1990)
Visuals
Baumbach shoots and cuts in a fleet, exhilarating manner that reminds of nothing less than the Godard of Band of Outsiders or the Truffaut of Shoot the Piano Player, a connection explicitly and sometimes movingly underscored by his extensive use of excerpts from 1960s French film scores composed by the great Georges Delerue.
The movie is shot in lush black and white, an aesthetic that speaks to Baumbach’s admiration for French new wave filmmakers, from François Truffaut to Eric Rohmer and Jean-Luc Godard, specifically his Band of Outsiders.
Frances Ha, which Baumbach co-wrote with Gerwig (his real-life girlfriend), was shot in glorious black and white and edited with the jumpy rhythms and unexplained time lapses of the French New Wave (one joyousl scene, in which Frances runs and dances through the streets of New York to the tune of David Bowie’s Modern Love, feels like a direct shout-out to the romp through the museum of Godard’s Band of Outsiders).
You could make a season of films like that, and it would have to include Griffith and Lillian Gish (Broken Blossoms); von Sternberg and Marlene Dietrich (Morocco, The Devil is a Woman); Antonioni and Monica Vitti (L’Avventura); Hawks and Lauren Bacall (To Have and Have Not); Capra and Barbara Stanwyck (The Miracle Woman, The Bitter Tea of General Yen); Godard and Anna Karina (Vivre Sa Vie, Pierrot le Fou); Ingmar Bergman and nearly every actress he worked with (Persona, Cries and Whispers, Summer with Monika); Hitchcock and Grace Kelly (Rear Window), and Hitchcock and Tippi Hedren (The Birds, Marnie); and Truffaut and Jeanne Moreau (Jules and Jim) and Truffaut and Catherine Deneuve (Mississippi Mermaid).
A collaboration between director Noah Baumbach and Greta Gerwig, “the Meryl Streep of mumblecore”, Frances Ha is a film that reconciles well-trodden themes of indie cinema with physical comedy, emotional depth and a knowing affection for the nouvelle vague.
If that’s true, Jean-Luc Godard’s 1965 crazy quilt — which is screening this week in a new 35mm print at the Brattle — is an arena where ignorant armies clash by night, Matthew Arnold being one of the few outposts of Western civilization not visited in a movie that cites Velázquez, Renoir, Van Gogh, Picasso, Modigliani, Aucassin et Nicolette, Bernardin de Saint-Pierre, Balzac, Hugo, Poe, Robert Browning, Baudelaire, Jules Verne, Rimbaud, Joyce, Céline, Scott Fitzgerald, García Lorca, Les Pieds Nickelés (a French comic book), Beethoven, Madama Butterfly, Mack Sennett, Laurel & Hardy, Pépé le Moko, Johnny Guitar, and every one of Godard’s previous films — not to mention Standard Oil (“Put a tiger in the tank!”), Playboy, Coca-Cola, the invisible panty girdle, Algeria, Vietnam, JFK’s assassination, and the Statue of Liberty relocated to the Île de la Cité in Paris.
He liberally references his favorite films and filmmakers (from Hitchcock to Nicholas Ray's Johnny Guitar) and he has Samuel Fuller deliver the film's most famous line: "Film is like a battleground.
Godard includes moments of political discourse, as well as references to his favourite films – Gösta Berling (1924), Johnny Guitar (1954), The Searchers (1956) – and quips about the relation of art to to reality, but his main goal was to make his arrogant cruel bourgeois couple literally go through hell.
And the Liberation Front that kidnaps our heroes uses movie titles as code names in their radio transmissions: The Searchers, Battleship Potemkin, and Johnny Guitar, all Godard favorites from his movie critic days.
Set in a futuristic society of noirish government zombies slaving away in bleak bureaucratic bunkers for offices, it’s more a satire of Godard’s Alphaville than a menace designed for the Syfy channel.
Ayoade has cited Orson Welles’ Kafka adaptation “The Trial” as a key influence, with its similarly labyrinthine sense of entrapment, along with “Alphaville,” “Eraserhead” and the dry Nordic comedies of Roy Andersson and Aki Kaurismaki; the latter’s imprint is particularly apparent in “The Double’s” regular eruptions of deadpan humor and its rich, almost Sirkian color palette.
Rebels of the Neon God (1994)
Directed by Tsai Ming-liang
influenced by Breathless (1960)
Themes Visuals
However, on another level, the entirety of Tsai's debut feature unfolds like a rebuttal to Jean-Luc Godard's Breathless , seeking to interrogate questions of pop-cultural influence not as a matter of homage or allusion-based deconstruction, but as a damning treatise on the nature of product placement, globalization, and the often innocuous ends of cinematic play.
Like Godard’s “Breathless” and Wong’s “As Tears Go By,” “Rebels” cunningly synthesizes both B-movie and art film.
Jean-Luc Godards 1965 conceptual masterpiece is a hardboiled, Pop Art, sci-fi gloss on Jean Cocteau s Orpheus and George Orwell s 1984, using bits and pieces of contemporary Paris to evoke a totalitarian future.
A scene in which two people are talking in a car, a moment akin to the downtime in Breathless (1960), is bathed in the blue light of a motel sign that emphasizes the calm before a coming storm, and eases us into a moment of security amidst impending dread.
Seydoux gives a charismatic and terrifying performance, reminiscent of the "children of Marx and Coca Cola" in Jean-Luc Godard's early work, most particularly Veronique, the heartless redheaded revolutionary in "La Chinoise."
Here, Kubrick hands her two scenes that are arguably the film's strongest -- a pair of erotic monologues, one recounting a long-standing obsession with a stranger and another describing a dream in hushed, ashamed tones, that recall the similar centerpieces of Bergman's Persona and Godard's Weekend.
The idea also inspired the greatest movie ever made, Jean-Luc Godard’s “King Lear,” a fantasy from 1987 in which the world’s great art has been lost as a result of Chernobyl.
Michel is an amoral chancer who consciously styles himself after Bogart, while the film itself is in part a homage to Hollywood film noir, making a particular nod to Joseph H Lewis's seminal love-on-the-run movie Gun Crazy.
Monogram was originally the distributor-of-choice for Joseph Lewis’ Gun Crazy, the spiritual step-sister of Breathless a decade earlier.