Country of Origin: France/Italy
Having recently viewed director Jean-Luc Godard’s first feature, “Breathless” (1960), I was eager to seek out several of the films he shot in 'scope given his reputation for working with color film stock. “Le Mépris” (1963) surpassed my expectations and opened with perhaps one of the most sumptuous and scathingly satiric sequences I have seen since Billy Wilder’s “Sunset Blvd.” (1950). Bridget Bardot, one of the few blonde bombshells who could actually act, stars as a screenwriter’s wife and as the above poster would have you believe, she has a tendency to appear half clothed. Godard, at the urging of his American producer, included this considerable nudity, but cleverly manipulated these scenes to mold one of, if not the definitive, on-screen in-joke. Godard hardly glorifies Bardot’s body, but instead presents her in a non-sexual manner where her character’s insecurities and cruelty hold more weight than her voluptuous figure.
“Le Mépris” isn’t generally as closely associated with the French New Wave as Godard’s aforementioned film “Breathless” or his famous homage to the American musical “A Woman is a Woman” (1961), but Godard’s tendency to use jump cuts and reflexive content is immediately evident. The film’s plot essentially highlights the filmmaking process and the dichotomy existing between director and producer. German wunderkind Fritz Lang plays himself as the “high concept” director whose ideas are lost on the simple-minded and sex-crazed director, performed perfectly by acting legend Jack Palance. The film within the film is an adaptation of The Odyssey and Godard has cleverly manipulated his film’s theme to mirror that of Homer’s famous work. Raoul Coutard photographed “Le Mépris” on location in Italy and the glorious scenery also echoes that of Homer’s poems. Godard is at the pinnacle of his ability here, cleverly weaving references to classic cinema and undertaking his usual stimulating content. I’m not one to throw around the title of masterpiece, but this film is deserving and not to be missed by any serious fan of cinema.
“Le Mépris” isn’t generally as closely associated with the French New Wave as Godard’s aforementioned film “Breathless” or his famous homage to the American musical “A Woman is a Woman” (1961), but Godard’s tendency to use jump cuts and reflexive content is immediately evident. The film’s plot essentially highlights the filmmaking process and the dichotomy existing between director and producer. German wunderkind Fritz Lang plays himself as the “high concept” director whose ideas are lost on the simple-minded and sex-crazed director, performed perfectly by acting legend Jack Palance. The film within the film is an adaptation of The Odyssey and Godard has cleverly manipulated his film’s theme to mirror that of Homer’s famous work. Raoul Coutard photographed “Le Mépris” on location in Italy and the glorious scenery also echoes that of Homer’s poems. Godard is at the pinnacle of his ability here, cleverly weaving references to classic cinema and undertaking his usual stimulating content. I’m not one to throw around the title of masterpiece, but this film is deserving and not to be missed by any serious fan of cinema.
The trailer can be found at the following link.
- Kurtis
2 comments:
I have seen parts of "breathless" and I was confused to say the least. I agree Godard is an amazing filmmaker, but I was reluctant to see anymore of his films. After reading your blog of "Le Mepris" I am actually considering watching the film.
Lets watch it together Fazila!
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