Un filme socialista

I'll admit that I've only seen a handful of Jean-Luc Godard's movies. "Film socialisme" is the latest. Very bizarre movie. In fact, it doesn't really emphasize a plot. It's hard to tell what the movie's emphasis is supposed to be, with the focus on a group of people aboard a cruise ship in the Mediterranean. Maybe Godard wanted to address the use of certain places as tourist meccas, but I couldn't be certain. With current events in the world, it's probably significant that the movie includes Palestine.

I'd like to see the rest of Godard's movies, but I doubt that I'll ever be able to truly understand what sort of point he was trying to make with this one.

Watch for singer-songwriter Patti Smith in a brief appearance.

Far to be a Godard admirer, I was real seduced by this film, a mix of cultural references about Mediteranean area, a good pledge for language as obstacle of understanding, eccentric, innovative, absurd in essence, proposing characters and theirs memories and believes , but not exactly a story.

A film about time and masks and past and facts as pieces of puzzle , it is a provocative invitation to viewer to create his explanations or - and doubts.

For me, the old watch is the main scene defining this film who remains a clash by fragments of doczmentary, stains of kitsch and rediscover of past. All, in essence, in the most honest manner.

A Jean-Luc Godard double feature for me this evening. The first was Alphaville. This film, reported to be Godard's last, is a far cry from that.

It was shot entirely in digital, and the colors are breathtaking. It was meant to be seen in the theater, according to Godard, but I had to settle for video. There are numerous technical "glitches" in the film, and they were meant to be there.

Most of the film's text is in French with a smattering of German, Russian, Arabic, Hebrew, Latin, and Greek. Godard added subtitles in what he termed "Navajo English" at the bottom of the frame, which were as unhelpful as they were meant to be. The film is about a failure to communicate.

This is one of those films where the critics are far more enamored than the general populace. It is considered one of the top films of 2011 - almost the top ten. The people would disagree.

Steve Pulaskie's negative review of "Film Socialisme" inadvertently, by its very length and detail, betrays the fascination a good Godard can exert even on the "unimpressed." I'll let the positive reviews -- not all of which I have read -- speak to my own liking for this film. I need to see it more times, especially after my French is more fluent than it is. But my take is that "Film Socialisme" is meant to provoke thought and questions, not answer them ... notwithstanding one can pick up a good notion of where Godard is coming from. But -- to echo any other reviews that have said the same -- "Film Socialisme" should NEVER be anyone's introduction to Godard! Whether or not it's really his last film, it comes 50+ years after his first films blew up the way everyone made movies ... and, yes, they even have plots. I have seen only a few of them, but am buying up more. The main IMDb web-page features a number of fans listing their top Godards; I refer newbies to them. By all means see "A bout de soufflé," "Une femme est une femme," "Alphaville," "Pierrot le Fou," "Band of Outsiders," and maybe "Weekend" -- and only then try "Film Socialisme." But this last film shows me Godard hasn't lost a thing he started with. He still has all his outrageous playful inventiveness, exuberant effrontery: he still makes a movie MOVE; this film is more CINEMA than the most CINEMA flick he ever tossed off. See the early ones -- on which his rep will always rest -- then re-see this one. Whether you like "Film Socialisme" or not, you'll know what I mean.

We recently screened Godard's contentious "Film Socialisme" at a small art-house cinema in Boulder, CO where I live and I couldn't be more delighted by the response. Namely, there were many people who were infuriated about the film, leaving in droves and upset that such a film both exists and/or would be shown at said theater (the only art-house theater in the city, actually).

One patron was even angry enough to leave a note behind for the concessions stand stating that she "speaks French" and was particularly upset about the subtitles of the film. She'd probably be the kind of person to get upset about the "punctuation problems" in ee cummings' poems. And don't get her started on Andy Kaufman!

First and foremost, "Film Socialisme" is without a doubt a beautiful film. The way in which it was shot and edited is visionary, a true patchwork of modern/post-modern society/cinema today. The kind of film that -- as with the majority of Godard's ouevre -- may be ahead of its time but will certainly be enjoyed by sincere cinephiles looking for something new, bold and fresh. Beyond any sense of provocation, there were true moments of visual/audio splendor that simply cannot be seen anywhere else (by sheer merit of the fact that, yes I agree, no one else would be "allowed" to make/distribute such a film; and that in itself is important when considering whether or not you should spend the money/time on seeing it in the theater).

Clearly, the subtitles of the film -- which are minimalist and fractured (clearly intentionally) - - are a play on one of the film's many themes: the breakdown of communication and language (think Gertrude Stein texting you viz. her thoughts on modern society). That people are growing angry about the challenging and innovative way Godard has aptly chosen to play even now with the very subtitles of his film is extremely exciting. Not to mention the fact that, again, aside from the "gimmick," the subtitles become a poetic innovation unto themselves in which Godard combines words into fascinating portmanteaus that invoke clever wordplay a la some of the greater avant-garde/surrealist literature.

He has finally gone that extra distance in deconstructing every aspect of the film (including, at times, a brilliant dalliance with the audio mix that clearly has confounded viewers a la similar experiments by the likes of the Velvet Underground, Andy Warhol, Andy Kaufman and La Monte Young; there are moments in which you truly wonder whether or not there is an "actual" breakdown of the film being shown -- especially if you're lucky enough to see this film through digital projection; "Is there something wrong with the disc?! Oh no!!" Very exciting. Audience interaction, indeed!)

Ultimately and as per Godard's typical (?) MO, the film is a firm lashing of the perpetuated bourgeois culture (particularly in America; hence his giving us the finger for not knowing French or the many other languages interspersed throughout the polyglot film; "You don't want to learn another language? Fine. Try figuring THIS out!!")

Like Lenny Bruce and a younger John Waters, with "Film Socialisme" Godard is shaking up audience members -- particularly his "greatest fans" -- by provoking them in ways they may not be comfortable with, in ways that may simply repel them. "You want to be shocked? I'll shock you, but be prepared to be, well c'mon: shocked." We don't go to Godard films to watch a clear narrative or to understand everything that happens. It's poetry, it's visual/audio artistry, it's -- ultimately -- play and experimentation. And Godard has once again succeeded in creating something that will not allow us to remain static in our seats. If you can't handle that, he is saying as always, then feel free to leave and don't forget to ask for a refund on your way out.

The megaplex is right down the street. Or, hey, buy a copy of "Breathless" and watch a nice "really weird and wild!!!!" noir film with a plot. It's all up to you!

In the end, the film defies quotation marks. If you want "challenging," you've got plenty of it on Netflix. If you want challenging, however, see "Film Socialisme." Just don't be too upset if it... challenges you.