Directed by:
Jean-Luc GodardScreenplay:
Jean-Luc GodardCinematography:
Willy KurantCast:
Jean-Pierre Léaud, Chantal Goya, Catherine-Isabelle Duport, Marlène Jobert, Michel Debord, Birger Malmsten, Brigitte Bardot, Med Hondo, Dominique Zardi (more)VOD (1)
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Told in fifteen vignettes, Jean-Luc Godard’s Masculin Feminin is a candid and wildly funny free-form examination of youth culture in throbbing 1960s Paris. Mixing satire and tragedy as only he can, Godard charts the relationship between would-be intellectual Paul (Jean-Pierre Léaud) and aspiring pop star Madeleine (real-life yé yé girl Chantal Goya) against a backdrop of a nation gripped by political upheaval and the Vietnam war. As these children of Marx and Coca-Cola struggle to balance political idealism with modern-day consumerism, they race through hopeless love affairs with music, revolution, and each other. (Umbrella Entertainment)
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Reviews (2)
I enjoy dialogue-driven films, and this one had something to say, in that it eloquently discusses the time and the mindset of the youth. However, that doesn't change the fact that Godard didn't manage to captivate me that much. Nevertheless, it shows that the possibilities of cinema are truly vast; it all depends on how the filmmaker approaches the entire production. This is very personal.
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Once again, we are presented with an examination of the influence of the all-pervasive ideology of emerging consumerism in the 1960s on the behavior of the characters - the young leftist Léaud (Marx's child?) and the youthful Chantal Goya (Coca-Cola's child?), who was already breaking through in show business. The observation of their coming together and subsequent distancing (the great scene with a wall between Marx and Cola, a wall between the ideal product and reality can be found towards the end of the film during the recording of an album in a music studio), made possible by the time period; reflection (and internalization?) of ongoing social processes (leading to its end) in Léaud's character, presented with typical Godard finesse - particularly in the sociological tuning in long shots of dialogues between individual characters (thus anticipating his future films, especially 2 or 3 Things I Know About Her), of course with distinctive editing, unexpected "intrusions" of music, and so on, all in an accessible and cohesive narrative form (thus reminiscent of his previous films).
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Gallery (55)
Photo © Svensk Filmindustri (SF) AB
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