Two or Three Things I Know About Her

Godard released this film in 1967, and it tells the story of a woman, Marina Vlady, yet cast as Juliette Jeanson, who plays the role of both housewife and actress. The film constantly goes back and forth between the reality of life and the make-believe world of cinema. Godard follows Juliette throughout her day, as she runs errands, drops her child off at day-care, and goes shopping. The movie relies heavily on the narrative aspects of film. Several of the characters shot in the film make direct eye contact with the camera and continue to explain certain aspects of their life or day, outside of the film. The characters converse with themselves, others and the audience in this film. The topics of their dialogues also varies heavily from character to character. Some of them talk about mundane daily activities, others mention information about dressmaking. The way that Godard portrays the conversations is interesting and innovative. For example, in one scene two groups of people are shown conversing in a cafe, and Godard switches back and forth between the two conversations in a way that make the two blend togethter. Two or Three Things I know about her is definately a film that can be percieved several ways. The narrative and dialogue of the film are most memorable.

Week End

Weekend, by Godard, released in 1967 is filmed with a sort of nightmarish point of view. The movie unfolds as a couple ventures to the country side for a weekend and are stopped in traffic because of a horrible accident. The accident scene is memorable because it is filmed in one shot and it seems to show almost a hundred cars, containing different types of people who are handling the situation differently. The entire film is filled with random violent scenes, many of them containing car crashes and fire. Also, the film portrays a hippie-cannibalistic group who attacks human beings and brutally kills them. The violence and mentality of the characters in this movie are Godard's way of showing what society can become and how he criticizes politics.

Pierrot le Fou

Jean Luc Godard released Pierrot le Fou in 1965, featuring Jean-Paul Belmondo and Anna Karina. The imagery and soundtrack of this film make it one of Godard's most memorable New Wave films. The use of color in this film is one of Godard's best choices because they seem to reflect the intense emotion of each different scene. Pierrot, a middle class man with a family, gets bored with his daily life and decides to run away with his children's babysitter, played by Anna Karina. The two characters seem to mimic one another, their chemistry and acting work very well in the film. The chain of events that happen between the two characters show the passion and criminal intent of Belmondo and Karina. The two create havoc wherever they seem to go, however, the consequences do not seem to phase them. Pierrot le Fou is another Godard film that examines the relationship between a man and a woman who seem to match perfectly.

Last Year at Marienbad

This extremely confusing film, by Alain Resnais, was released in 1961 and tells the story of of two people who met a year ago in Marienbad. The plot is simple, yet the presentation and structure of the film are very bizarre. None of the characters have names, and their personalities are not consistent. The lead male character in the film tries to depict what really happened and what didn't happen the year that he met the woman. The theme of "memory" is recurring throughout the film, Resnais uses flashbacks to help reinforce this theme. The ambiguity of the film allows the viewer to make up his or her own idea of what really is happening in the film. Resnais uses a very surreal aesthetic while shooting this film, the scenes seem almost dream-like. The film is worth watching a few times in order to get a better sense of what really happens.

Les Carabiniers

Jean Luc Godard directed "Les Carabiniers" in 1963, is known for being a satirical anti-war film that imagines a war in an unknown country where two brothers are approached by some carabiniers who explain their draft in a war. The brothers, along with a wife and a sister, live in a beat-down shack in the middle of nowhere. When the carabiniers attempt to persuade the brothers to come to war, the brothers willingly accept with hopes of being rewarded with lots of money.
When the brothers find themselves in war, their characters are ruthless, killing anything in sight. They are commanded by a "King," who is never shown in the film. Godard does a good job by creating intensity in the fight scenes by placing actual war footage on the screen. He also adds war-like sound effects that add a more unrealistic sense to these scenes.
One of the more memorable scenes in the movie is found towards the end, when the brothers return home. They tell their wife and sister that they have brought them prizes from around the world, yet they are all contained in one single suitcase. They reveal only photographs of places and things they promised to the girls, in a very anti-materialistic manner. One of the most visually and comically pleasing scenes in the movie is when the younger brother discovers the world of cinema. The scene where he is in the movie theater is unforgettable. The boy is curious about what is happening on screen and physically tries to see what is off-screen. He is completely in awe from the film, a wonderful portrayal of emotion by Godard.

Alphaville

Alphaville, another film from Godard, released in 1965, is a quirky and science fiction story of the secret agent character, Lemy Caution. To the modern viewer, this film is especially strange. The special effects are somewhat comical and reflect a sort of Twilight Zone feel, displaying themes of opression, darkness, and claustrophobia. This is one of Godard's film that sets itself apart from all the others. Alphaville is his only film that delves into the world of science fiction. The city, Alphaville, is ruled by a computer which is the object of Lemy's mission. Lemy Caution's character remains the only one who displays true human-like abilities. All of the girls at the hotel Lemy stays at have been brainwashed by the computer. One could argue that the objective of the computer is to rid the world of humanity. Another plot in the movie revolvs around the destruction of language. The inhabitants of Alphaville must only speak words that appear in their "Bible," that acts as a dictionary, offering literal meanings of words. At the end of the film, the main female character, played by Ana Karina, seems to come to her senses as her and Lemy Caution depart from Alphaville. She says "I love you" to Lemy, the first time in the film where we see her character express true emotion. This ending can be percieved as cliche and too emotional, and also reflects the gender stereotypes presented. The male arhetype character is seen as tough and rational, while the female character is too emotional and robotic. Overall, the film is comedic and strange, yet it still remains one of Godard's most memorable.

Vivre sa Vie

Vivre sa Vie, directed by Jean-Luc Godard and released in 1962, illustrates the story of a girl, played by Ana Karina, who finds herself lost in the world of prostitution. She has recently left her husband and is now battling with her landlord to keep her apartment. She holds a job at a record store, but then leaves it in order to pursue her job as a prostitute. Her character is interesting because she is somewhat naieve and unaware of what happens in the world of prostitution. Prostitution to her acts as a way for her to get the attention from men that she always desired, even if it is not sincere attention. Her beauty and grace contrast with her inner self that feels damaged by how she is portraying herself to the world. Her character can also be viewed as ambiguous. It is sometimes hard to tell what she is thinking by the way she talks. At times, her conversations seem to go nowhere. Godard does a good job illustrating her struggle to stay stable under all the pressures of her life.
The structure of the film is also interesting; it is divided into 12 parts, all which seem unconnected to each other. The sudden camera movements and editing of the film make it a memorable Godard, New Wave feature.