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Jack Thompson
Jack Thompson

Watch Alphaville 1965 UPDATED

In one scene they watch as convicted men (for crimes such as grief) stand on a diving board over a pool, are shot with a machine gun, then are chased through the water by knife-bearing women who swan dive in after them. It is overly performative, free for anyone to watch, and no one bats an eye.

Watch Alphaville 1965

Luc Haasbroek is a writer and videographer from Durban, South Africa. A lifelong movie nerd, he's written for sites like Paste and Briefly. Luc has also worked behind the camera on short films and other projects. When not writing or watching LOTR marathons, Luc hangs out with his cats and generally forgets where he's left his keys.

So it might seem like Godard, like a lot of his work, created a tongue-in-cheek satire of American pop culture with Alphaville. Certain he did that a lot. But if you just watch the movie as presented, the tone is deathly serious, the cinematography from the great Raoul Coutard is moody and bleak, and the story of love conquering in a world of oppressive logic feels completely genuine. Godard did make a work of dystopian science fiction, he just did it in a way that evoked film noir.

This film is so incredibly fresh and now..even today. There is nothing in it that makes me "look back" and say, oh, how much better it could be if they had x, y, or z.It stands. I feel, almost as if its _still_ ahead of its time, of our time in fact! The cuts, shots, quickness of editing and story progression -- I don't see anything like this anywhere!Case in point -- I went to see the "cutting edge" film, The Fountain. Boy, I liked it, but it positively LAGS compared to Alphaville. For as much information as The Fountain purports to tell, its really not that rich at all. Alphaville, on the other hand, flows with cool stuff right and left...and that's proven, as you write, by the number of feeder movies, scenes and devices that it's engendered.I can't say enough good things about this film...I guess because I just finished watching it 1 hour ago (for the 3rd time in my life). It almost makes me mad. I see this movie, and the point of art really is to always go beyond what's been done. I think of all the money and movies that have been made and so few even come close to Alphaville.

It IS intentionally silly. This is Godard, after all. He's the joking intellectual. I think you weren't expecting much from this film; you sounded a bit dismissive in your review, methinks. I was just browsing for Alphaville pictures and ran into your review, and felt compelled to comment on it, as it is one of my favorite films. You should watch it again, this time understanding its comic verve, its whimsical nature. Much of it is tongue-in-cheek, although the themes are ultimately rather serious. That is to say, the ruminations on poetry, Alpha 60's speeches, its very design, and even the pool sequence, are not supposed to be realistic, or chilling, at all - they are sardonic and intentionally overdone, like the cool scenes where Lemmy Caution beats up the henchmen following him. They are pastiche; Godard's playful jab at Noir conventions. What you have to understand about Godard, is that even when he is being playful, he's being serious. Once you get that, you'll love him.

Two things: 1. If you've seen later Godards, you may suspect as I do that he began (to the detriment of his art) to be completely fed up with conventional film making. By the 70's his films were basically unwatchable for this reason, but with Alphaville it's actually a bonus. How else could you possibly make a shoestring French sci-fi noir in the 60s that is of any value whatsoever? 2. The scene where Mr. Caution casually moves a hanging lamp just to watch the light effect, and the camera lingers on him for the same purpose, is so sublime that I'm surprised it wasn't worthy of one of your random comments. But we should celebrate the different strokes instilled in us different folks I suppose. Fun review generally. Brought back memories.

Jean-Luc Godard, one of the pioneers of French New Wave cinema, has died at the age of 91, responsible for some of the best films in the history of French cinema. Rebelling against the cinematic conventions of the 1950s, Godard was one of a troop of directors including Louis Mallee and Francois Truffaut to redefine what cinema is, introducing their own new techniques and passions. Godard is cited as an inspiration and influence to many contemporary filmmakers, most notably modern auteur, Wes Anderson. His work is so particular is is often described only as "Godardian." Here, we look at 13 of the best films by Jean-Luc Godard to watch in his honour.googletag.cmd.push(function() googletag.display('mobunit'); );

Let's be honest, there's no way to watch a sci-fi movie, without noticing some sort of homage to Metropolis (be it the design of C-3PO or influencing the likes of Terry Gilliam's Brazil and Paul Verhoeven's Robocop).

Some ideologies in the film are outdated, but that does little to detract from how amusing it is to watch. From clever wordplay to comical scenes, it's an underrated title that shows a different side of the director.

Goodbye to Language is one of the best movies about philosophy that underscores Godard's ability to make audiences question their perspectives and thoughts while watching a film. As expected from the director, the entire enigmatic movie is anchored in a love story, but it goes way beyond the relationship when interpreted as a whole.

Godard always implemented high-concept philosophical themes into his work, but perhaps this is most clearly seen in his 1965 film, Alphaville. In this movie, Godard mixes science fiction themes with classic film noir in order to create a unique atmosphere.

We watched this fim because one of the lads in our club really wanted to see a silent movie. We were all a bit aprehensive but filmclubs about seeing films you wouldnt normally watch. Infact only twelve of us turned up - and it was worth it. Even though we couldn't understand half of it as we couldn't change the subtitles the acting in it was so clear that we were all able to carry ourselves along the film and we all knew what was going on (Hooray for GCSE German). Despite this i can see why this film has proved such an inspiration for so many films that have followed, and considering it was made in 1927 the actual filming and shots of the film are very impressive. Overall i would say watch it just for the experience. The plot line was a bit confussing and i personally wouldnt be that upset if i never watched it again, but it has given me a new passion for silent films so one good thing came out of it. Even if you hate black and white films, hate silent films i would recommend watching this film as it truely is an experience - rather than another film.

The title character is a prostitute who gives up her profession and moves to a run-down neighborhood of Rome where she hopes to make a decent life for herself and her son. She opens a food stand, makes new acquaintances, and settles down to watch over young Ettore, a feisty adolescent who's as likely to get into mischief as she was at his age. Much of the film is marked by humor, heartiness, and respect for the earthy details of working-class life. Things turn darker when Mamma Roma's former pimp arrives on the scene, and tragic when Ettore finds himself in dangerous trouble.

``Germany Year 90 Nine Zero'' borrows its main character from ``Alphaville,'' a 1965 science-fiction movie in which Godard skewered totalitarian tendencies he detected in modern French society. Older and wiser now, hero Lemmy Caution starts his new adventure as a spy in East Berlin just after the Berlin Wall has tumbled. Heading back to West Germany, he passes through a series of situations involving figures from the past few centuries of European history. He ends his journey in a post-cold-war world that Godard finds both alluring and appalling.

The nauseating scenes in A Serbian Film point to the vicious war crimes that have scarred the nation, to the abject corruption of abusive authorities who force individuals to commit horrendous acts, to the dehumanising nightmare of having no other choice but to be either victim or torturer, to the utter hopelessness such a trauma leaves, and to the impossibility of surviving it. It is also a film that feels directed at Western Europe, a Europe that watched the hellish disintegration of the former Yugoslavia on prime-time TV. It is a film that indicts real horrors packaged as entertainment, not one that offers visions of torture for fun. But the BBFC do not seem to think that the British public can be trusted to understand this. 041b061a72


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