Redoubtable

There's a lot of sarcasm in that this is a film about Godard, a great fighter against the stamps lifted in bright and the expressive style. Here so the worst of the banter recognized as "Ander" — create about it is understandable to mass of glossy history. Yes still fully Hollywood aesthetics. To take the emphasis placed here Ann Vyazemskoe — former Muse of Godard. And then, as do not try — no intrigue, no cost.

That appears that not in vain, he called this feed "a stupid idea". It just turns out that is not quite it, objective. Certainly not objective. And this changes things.

Alas, because of this some are lubricated with bright and colorful tone of this film. Forgotten expressive bérénice Bujo, so deftly plays up the main character. Awesome Duo Louis Garella and Stacy Martin also fades. These two good in the frame. Even when shooting completely naked, they manage to look not matter. They love of strife, the constant jealousy and intimacy that was so effectively depicted — all is lost. Too strong gap between the Godard and his on-screen incarnation. Garrel perfectly conveys his in form but not in spirit.

Of course, episode in bis it is possible to allocate all the fabric around the filming of "the Seed of man." Just two or three appearance in the frame of the character Marco Ferreri with his retinue — and tape great comes alive. And as for 15 to in the frame together it was possible to see from heroes of Bertolucci and Godard. And it's great.

But, easy, entertaining style of Gaznavids not corresponds to the person of the mother as and positioning. From Michelle was "Godard without Godard". Not was his wicked kontrkulturnaya and rapid experimentation. Before us was a simple little notorious French intellectual. But other to be, perhaps, not could. Ghaznavids on a Director overvalued, ready to shoot colorful and bright the movie in the damage is deep and conceptual issues, which are given not even a decorative role. Every new film only confirms this.

6 from 10

Beautiful in all components of the film concerning the most important period in the life of the great Director, the demagogue, the adventurer and terrible grumpy Jean-Luc Godard. Michel Hazanavicius managed to create an incomparable monument to a living legend of cinema, so thin and delicately that at times it seems like exactly the kind of movie about yourself could would remove the stage, whether it is a little samoironichnyy. Many special techniques and methods, JLG, in the sixties changed the face of the film industry here has been taken from weapons a complete immersion into godarovskaya vision of the world and its unique style, based on the confrontation with all traditional. I must say that this immersion has certainly been. Hazanavicius in principle — a great master in the creation of nostalgic tapes, referring to the glorious "gold" kanapaha. In this case, combining genuine warmth to the object of observation with impartial severity, he plays atmospheric painting, breathing life is full of paradoxes and absurd tragicomical.

But even greater delight is one hundred percent hit in the choice of performers of the main roles. Often in bioeco (and not only) Actresses playing "music" the main characters are, to put it mildly, creating a greater degree the effect of the ballast. But Stacy Martin here without a delightful exaggeration. It is not just a piece of furniture for your talented husband. For her want to see her I want to empathize. The question of that it so drew Godard, it's just not may occur. Garrel also gives perhaps the best role in his career. A very compelling image of a brilliant madman on the brink, with his own hands kills your talent and yourself.

But the principles for Godard, as history will judge, — above all fame and popularity. And, declaring war against everything and everyone, he first declared war on itself. In this is the whole of Jean-Luc Godard.

10 of 10

First time after The Dreamers Bertolucci's me nice to look at the young Louis Garrel (who I took only Bertolucci anywhere).

Flawless getting in the way. He knows what he igrati HOW to play, knows the era (of course, when Such a dad, such a debut at this Director, the genes do not to put it anywhere), not like the eternal himself since Bertolucci, here he is Jean-Paul, not Louis.

His second wife, Anna, comes from the last half Russian aristocrat, half French — the granddaughter of the Nobel laureate writer françois Mauriac (although with Anna Karina, no one like it!) in the face of Stacey Martin — very pretty, although to play her particularly (especially after the Background Trier!) nothing is necessary, just go to see and play Muse the Maestro. But watch it is very nice, it cute and it lives and emotion.

In may 1968, student unrest, Paris, red flags and the quotations of Mao, Stalin portraits, Guevarra, Marshal Lin Biao, Trotsky and Castro everywhere, restless soul classic French film — from Maoism "Chinese" to  the"Group Dziga Vertov". Short-tempered, nervous, insecure, in himself, wants the world and of the cinema, which is not can be eager to have people say it language felt much like he he not intolerant of hypocrisy and formalism, hating the bourgeois values and advocate the ideas of the revolution (without having to any idea because it to the bone of the bourgeois environment, flesh from the flesh of her).

Beautiful, amazing Director who changed the world of cinema and gave a new cinematic language, but difficult for those who loves him, man. Gloomy, bitter, angry, full of tearing it controversy, caustic irony, sarcasm, losing three points in the heat of revolutionary anger, and not willing to accept that Ann's it fell out of love (and therefore a sleeping pill).

So I saw this his Michelle Hazanavicius (written with Anna comes from the last book), and I like it vision, even if the Garrel played too exaggerated image of the Maestro.

PS. As I don't loved "the Artist" bérénice Bejo, the wife of Director H. also not like it. I in the "Godard". And Yes, I am delighted quotes omega in the direction of the Maestro and from black-and-white love scenes in precision X. repeated after the Master.