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With Jim Sabatini

Godard Mon Amour

Godard Mon Amour
Louis Garrel and Anne Wiazemsky

Rated: R for graphic nudity, sexuality, and language.
Reviewed by: Jim  
Release date: April 27, 2018 Released by: Cohen Media Group

Prescient originating French New-Wave auteur Jean-Luc Godard is covered fondly by The Artist director Michel Hazanavicius during a time of political unrest and personal vacillation. Even with its jollity in examining what is essentially a serious, presaged series of events a more rarefied spectrum will be reached than the highly acclaimed aforementioned tribute to the silent picture, as well as the stylish, charming, and rather contemptuous man (now a late octogenarian).

Godard Mon Amour (in French with English subtitles) hones in on the capturing and segueing of scenes in the newfangled manner of the artist during the late 1960s. A rebellious, impish spirit of his early oeuvre is evident from the clouding of the reality of the medium inside and out by a heady Hazanavicius who some probably wish took a less imitative approach. Though the use of somatic wit to counter the superciliousness is a welcome touch. Especially in a fine running gag about his eyewear.

Louis Garrel of The Dreamers divertingly typifies the gently uncomfortable individual with noteworthy antsy conceit and contentiousness. As his much younger oft-cast second wife Anne Wiazemsky (succeeding Anna Karina from the beginning of the decade) copes with her own activism and expression in a changing conjugal situation. Stacy Martin (remembered from the Lars Von Trier's Nymphomaniac compendium) is ideal in the role embodying the already alluring screen poise with plucky, obdurate coyness.

A turning point is the Cannes Film Festival remotely depicted from a seaside enclave as a more radical sensitivity took over Godard even before releases of La Chinoise and Weekend which were met with a charged reaction. And, Godard would be associated with the 1968 Paris civil disobedience signaled in his artistic movement. Even if it may be hard for many discerning cineastes to be rapt throughout Godard Mon Amour it could prompt them to explore the prosperous years of a truly persuasive, if quite pompous icon.

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