Godard doesn't relate well to young people. He had a brief window, right around A Bout de Souffle, where he could empathise with Belmondo and Karina and Seaberg, but by '65 he was entrenched as an intellectual working for the revolution.
It is precisely this disconnect that makes Masculine Feminin work. The tone is someone that remembers his youth and yet does not romanticise it. His look at the nature of being a young man or woman in Paris is a condemnation of ineffectual politics and pointless materialism. In the 15 tableaux that make up the film, we see politics, sex and shopping. Godard is clearly not pleased, and yet he still makes it all seem pretty damn cool.
Not a great Godard film, but an interesting point for the beginnings of shifting away from the New Wave.
It is precisely this disconnect that makes Masculine Feminin work. The tone is someone that remembers his youth and yet does not romanticise it. His look at the nature of being a young man or woman in Paris is a condemnation of ineffectual politics and pointless materialism. In the 15 tableaux that make up the film, we see politics, sex and shopping. Godard is clearly not pleased, and yet he still makes it all seem pretty damn cool.
Not a great Godard film, but an interesting point for the beginnings of shifting away from the New Wave.
0 Responses to “M-F.”
Post a Comment