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In 1966 Jean-Luc Godard was approached by producer Georges de Beauregard, who said that he had some money he needed to spend and asked if Godard could make a film on very short notice. Godard said sure, and proposed adapting a pulp crime novel (Donald E. Westlake's "The Jugger"). But when Godard made the film, which would get the title Made in U.S.A., he did everything possible to break out of a straightforward adaptation, using the novel as a mere skeleton over which he could explore other themes that interested him. Paula (Anna Karina), a journalist, goes to a small town where her estranged boyfriend Richard has died in mysterious circumstances, surely murder. Determined to get to the bottom of things, she takes on the air of a hardboiled detective, wielding a pistol and wearing a Bogartian trenchcoat. She meets the doctor who did the autopsy and has a run-in with the police, but mainly we see her tangled up with two gangsters, played by László Szabó and Jean-Pierre Léaud. Godard maintains just enough conventional dialogue and action to let the viewer know where we are in the crime novel's plot, but most of what transpires before the camera must be understood as only abstract metaphors for what would have happened in the book. The interaction between his characters mainly has other purposes. They have absurdist conversations with a great deal of wordplay. They allude to French politics in a time when Godard was worried about the compromised values of the French Left and the spectres of fascism and consumer society. The Ben Barka affair, where a Moroccan dissident was murdered in France in 1965 with the apparent involvement of the French security services, looms very large over Made in U.S.A., almost elbowing Westlake's original story out entirely. As if aware that he had stripped the plot down to such a degree that he now had too much time to be filled, he gives little asides like Marianne Faithfull singing "Tears Go By" a cappella in a cameo and Kyôko Kosaka strumming a guitar and singing in Japanese. This is not one of Godard's best films. For one, Godard reused many of the elements of his masterpiece Pierrot le Fou from the year before. Pierrot le Fou was itself assembled as a sort of a collage of shots from Godard's prior films, which worked well as a wonderful summing up of his early career. But when he does the same with MADE IN U.S.A., it is to greatly diminished effect. But even if this is weak by Godard standards, it is nonetheless a moving experience. Shot in colour and in Cinemascope, this is a feast for the eyes. The very best of what the 1960s had to offer in terms of fashion and product design is on hand here and it just jumps off the screen. The image feels electric. (It is a pity that Criterion's edition is only on DVD, as a Blu-Ray would have yielded even greater pleasures.) Godard's longtime cameraman Raoul Coutard gives us some elaborate long takes that impress. And of course it's Godard's last major celebration of Anna Karina's beauty and poise, which really was something for the ages, still stunning half a century later.
Paris, 1967. Disillusioned by their suburban lifestyles, a group of middle-class students, led by Guillaume (Jean-Pierre Léaud) and Veronique (Anne Wiazemsky), form a small Maoist cell and plan to change the world by any means necessary. After studying the growth of communism in China, the students decide they must use terrorism and violence to ignite their own revolution. Director Jean-Luc Godard, whose advocacy of Maoism bordered on intoxication, infuriated many traditionalist critics with this swiftly paced satire.
A committed film director struggles to complete his movie while coping with a myriad of crises, personal and professional, among the cast and crew.
Lemmy Caution is on a mission to eliminate Professor Von Braun, the creator of a malevolent computer that rules the city of Alphaville. Befriended by the scientist’s daughter Natasha, Lemmy must unravel the mysteries of the strictly logical Alpha 60 and teach Natasha the meaning of the word “love.”
Cinephile slackers Franz and Arthur spend their days mimicking the antiheroes of Hollywood noirs and Westerns while pursuing the lovely Odile. The misfit trio upends convention at every turn, be it through choreographed dances in cafés or frolicsome romps through the Louvre. Eventually, their romantic view of outlaws pushes them to plan their own heist, but their inexperience may send them out in a blaze of glory - which could be just what they want.
A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.
Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.
In 1967, during the making of “La Chinoise,” film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.
Claude Massoulier is murdered while hunting at the same place as Julien Vercel, an estate agent who knew him and whose fingerprints are found on Massoulier's car. As the police discover that Marie-Christine Vercel, Julien's wife, was Massoulier's mistress, Julien is the prime suspect. But his secretary, Barbara Becker, while not quite convinced he is innocent, defends him and leads her private investigations.
The protagonist is Carmen X, a sexy female member of a terrorist gang. She asks her uncle Jean, a washed-up film director if she can borrow his beachside house to make a film with some friends, but they are in fact planning to rob a bank. During the robbery she falls in love with a security guard. The film intercuts between Carmen's escape with the guard, her uncle's attempt to make a comeback film, and a string quartet attempting to perform Beethoven.
A young woman joins a theatrical troupe where she slowly believes that the director is involved with a secret group and that he is in grave danger.
A young woman tries to go to Paris, but her garden and the whole village is flooded with water.