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Mr. Arkadin

Goodbye to Language (Adieu au Langage)

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I'm very curious about this film.

 

 

I've been a "fan" of Godard for thirty-plus years, ever since I saw Breathless in college. Unlike a lot of folks, I tend to like his later work, perhaps even more than his earlier work - though his early work is generally more fun to watch. I say "fan", however, because I don't follow his career much, and I was surprised frankly to see he has this film in this year's Cannes.

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Looks like this will be a 2015 release for Angelinos. At least I'll get to see it then!


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

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Unfortunately, this counts as a 2014 for voting by the commercial release date metric. But the Region 2 dvd is out today.


"...the vivid crossing of borders between film and theology may save the film from the banality of cinema and festival business, and it may also save the church from the deep sleep of the habitual and the always known."

(Hans Werner Dannowski)

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At the L.A. premiere last night, the star, Heloise Godet, talked for a few minutes afterward. Among the anecdotes she shared, one stood out among the others. When Godard presented her with the shooting script (a rarity for him, apparently), she noticed that her picture was fastened to the cover. Inside, she discovered that the director had cut and pasted many pictures into the script, turning what would have been an ordinary document into an objet d'art. The film itself bears traces of this same tactility, each carefully doctored image bearing the fingerprint of its maker. 

 

The Big Question for me: Is the context of this film, and late Godard in general, optimism or pessimism? He seems to waver between the two, pessimistic whenever the human characters are onscreen, optimistic whenever the dog is onscreen. The dog, one character observes, is the only creature that loves you more than it loves itself.

 

Also, for a film that won the top NSFC award, this contains an awful lot of poop jokes.

Edited by Nathaniel

"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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Coming to Netflix on April 14th.


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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Oh, and in case anyone's wondering, I got the scoop here.


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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Yeah, but unless Netflix has started showing films in 3D, what's the point.


"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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There is no real point, really. The 3-D is the movie. Take that away and you haven't got much left.


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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There's at least one shot in this film where Godard suddenly whips one of the 3D lenses in a different direction, so that it's pointing at something *completely* different from the other 3D lens. Any 2D version of the movie is going to have to choose which of those images to give the viewer; it can't give both.

 

I'm pretty sure there are some other shots in this film where the two lenses are pointing at more or less the same thing, but they're not aligned the way they're "supposed" to be, which makes the images strangely disorienting.

 

So, yeah, the 3D is the movie, definitely.


"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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I mean, take off the glasses and it's just two images superimposed on one another. That's probably what they'll show on the 2D DVD. Incidentally, while I found those two shots pretty cool, I'm at a loss for why they've been so dominant and apparently awe-inspiring in critical discourse over the last year. Perhaps because they were the only thing from this film anyone felt they could explain?

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