King Lear

Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespeare Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a strange professor named Jean Luc-Godard, who repeatedly xeroxes his hand for no particular reason.

I gave this film a low rating primarily because of the way I saw it, with a low quality of picture and sound. I think there is a lot of potential here, but I wasn't fully able to enjoy it. Oddly, I don't think any people have seen this film, despite the names involved. Woody Allen? Norman Mailer? Molly Ringwald? This should be a cult classic. Has it received a proper release?

This film is absolutely brilliant. Weird characters and the fact that there's NO-THING really going on made this film interesting for me. Other people might find this film pointless and totally boring, but for me it's a treasure. I don't know anything about Shakespeare's 'King Lear' so I can't say if this film has anything to do with the actual play at all. This is exactly the kind of film that makes you think. After seeing this film you wonder what did the director want to tell me? Because clearly this film is made to communicate with the audience, it's an expression of the film maker's ideas, views and emotions. Or in other words... IT'S ART! The same goes to another Godard film 'Numero Deux'.

I can't say I've ever actually *liked* ANY film by Jean-Luc Godard (and I've actively hated several), but this late entry in his career is lighthearted and infectiously playful in its experimentation, especially early on, so that even when what it's trying to do doesn't come off, we still feel involved enough to roll along with it.

It was apparently first commissioned as a genuine, straightforward adaptation of Shakespeare's play, but the end result is a wild, free-associating modern creation of its own, much more to do with the process of adaptation than the play itself, and peopled almost entirely by famous faces such as Norman Mailer, Burgess Meredith, Julie Delphy, Molly Ringwald and even Woody Allen for a few seconds.

It's a very strange thing to exist, and many, I'm sure, would just find it insufferably pretentious (which it certainly is), but I still enjoyed it more than any of his efforts from the 60s and 70s, so take from that what you will.

P. S., you're definitely gonna need the subtitles on, particularly for Godard's own (English) scenes.

I don't know where to begin.

I cannot contain my contempt for this film (if I dare call it a film). In my opinion this is the worst Shakespeare adaptation committed to any art form anywhere in history. And one of the most egotistical pieces of rubbish in the annals of film.

It has NO USE. You couldn't even use this if you were doing a thesis of King Lear at college because this is faeces. Not to mention that it has hardly anything to do with the play King Lear. It has no plot, no interesting characters or character study and hardly anything in the way of decent direction.

And it is not just the fact that it lacks so much, it is the fact that what it does have is so goddamn terrible. Quotes and sayings repeated endlessly, terrible seagull sound effects that 1) happen in scenes where there are no seagulls and even scenes when we are indoors 2) happen in scenes when there is other dialogue going on and 3) are so loud that your ears begin to bleed (well, nearly).

I went to see this film because 1) I had only seen one other Godard movie Bande à Part (1964) and 2) I am a great Woody Allen fan. Now I mentioned earlier that this was egotistical and I will go further and say that this is sheer celluloid masturbation! Godard (in my opinion the most over rated director in cinema history) has almost become drunk with power, power gained from years of critics kissing his ass, and now believes he can do no wrong as long as he entertain and excites himself (i.e. masturbation). Another celluloid masturbator (for want of a better word) is Woody Allen, this shared hobby probably bringing the two together. But the one difference between these two is this, Woody Allen still has the gift to entertain and excited others as well as himself, whereas Godard lost this gift along long time before King Lear.

Now I have wasted enough time talking about this catastrophe.

I give it 0 out of 10.

P.S. If you want a really good Shakespeare adaptation try Throne of Blood (1957).

Cahiers du Cinema rated this as one of the top ten films of 1987. On the other hand, Leonard Maltin said of it, "Bizarre, garish, contemporary punk-apocalyptic updating of Shakespeare classic. Little to be said about this pretentious mess except... avoid it." I don't think it is a great film, but I certainly don't think it can be dismissed in such an offhand manner. There was a lot of thought put into it, and it can be very thought provoking, and also quite funny. I liked this film quite a lot and I thought it was interesting. I think it is very innovative and ahead of it's time; it almost seems like a multimedia project more than a film. I can see how people might find it very boring, but I didn't at all. It deals with many issues that have since become prominent themes in academic discourse.