Tudo Vai Bem

After his four-year, self-imposed Maoist/nihilist "exile," Godard made a temporary -- albeit slight -- overture toward conventional commercial (or "bourgeois," as Godard called it) cinema by combining a leftist political essay with a dissection of human interaction. Alas, the film fails on both these levels; as a study of the male-female relationship, it is nowhere near "Contempt" and "Masculin-Feminin"; as a pure Maoist political tract, it is shallow and mind-numingly boring compared to "Le Gai Savior" and "Vladimir and Rosa." Nevertheless, "Tout va bien" is nonetheless important within Godard's extraordinary body of work, for it marked the beginning of the seven-year process in which his films would gradually shed their ultra-leftist leanings and move towards more universal, humanistic themes, a process that would ultimately cumulate in the excellent "Every Man For Himself." Even true Godard aficionados will be as bored as everyone else, but they should nonetheless go out of their way to secure a copy.