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Oedipax wrote:One slightly embarrassing error in the article: It's Colin MacCabe, not McCabe as Krohn refers to him throughout (Altman on the brain, perhaps...)

I was very surprised about this. As a substantial amount of Krohn's argument hinges on a call for authorial commitment to fact & detail (at least in interpretation), it's a rather embarrassing elemental mistake. A misguided editorial override, perhaps?

david hare wrote:I cannot agree, Brody is a determined narcissist, and Bill would have been remiss to skim over the dinner "slight".

I would agree except that Krohn's sole source for the dinner slight is Brody himself. As such, this particular comment is amateur psychoanalysis (the biggest complaint against Brody) rather than the spectacular detective work that comprises the rest of the article.

But it's my fault for focusing on a negative in my original post, because I want to concentrate on the superlatives in Krohn's article. Such as the tracing back of Godard's "dirty Jew" comment to Renoir's Grand Illusion. And, especially, his take on the idea that the Cahiers Turks were a bunch of right wing goons. I've read this idea a lot on the internet (though not necessarily in any traditionally credible sources) and I'm thrilled to be able to link to Krohn in refutation.

foggy eyes wrote:

Oedipax wrote:One slightly embarrassing error in the article: It's Colin MacCabe, not McCabe as Krohn refers to him throughout (Altman on the brain, perhaps...)

I was very surprised about this. As a substantial amount of Krohn's argument hinges on a call for authorial commitment to fact & detail (at least in interpretation), it's a rather embarrassing elemental mistake. A misguided editorial override, perhaps?

Could be. One additional update: I just noticed, at the end of Soft and Hard, there is a credit for one "Colin McCabe" as "Friend." So it seems Mr. MacCabe must be used to this error by now!

Oedipax wrote:Could be. One additional update: I just noticed, at the end of Soft and Hard, there is a credit for one "Colin McCabe" as "Friend." So it seems Mr. MacCabe must be used to this error by now!

No doubt. Spotted another one yesterday from people who should really know better: link. I'll have to ask him about it!

My recent reviews of two Dziga Vertov Group films: Vladimir and Rosa / Struggles In Italy

The Spanish box set of the DVG films looks gorgeous, and really makes me hopeful for an eventual English-friendly release so I can ditch the fan-subbed versions of a few of the films that are available online.

Also, Vladimir and Rosa especially is much more fun than the reputation of the DVG films as joyless polemics would suggest. It's as playful and irreverent as any of Godard's 60s films.

domino harvey wrote:Amazon delivered my Believer today. Certainly this will be the first and last Godard DVD with a beach ball printed on the disc

It took a while but finally they delivered my copy today as well. Thanks for the tips, guys.

Some of the farcical/quarrelling sequences in Passion (1982) reminded me of Woody Allen's great works. And then I got to wondering if any of Allen's films ever mimic great paintings. This wasn't my favourite Godard, to be sure, but it moved me, and confounded me. And I do want to see it again. The second half was a very different animal, quite choreographed, compared to what came before. Somehow this work does seem slightly more dated than much of his 60s works though. Anyway, these are my initial and jumbled thoughts, for what they are worth, which might not be much. So there.

Socialisme. Is it imminent?

This is wonderful news which I'm sure is being discussed elsewhere on the boards: 2 or 3 Things I Know About Her & Made in U.S.A. Jul 21, 2009

Does anyone have the Australian import of Hail Mary that can comment on its quality? I found a copy for cheap but am hesitant since I can't find a review of the DVD.

First Name: Carmen has everything that a big blockbuster must have: Sex, a bank robbery, blood, guns, a rockin soundtrack, yuks galore, mental institutions, and irony (both comic and tragic), plus some other things.

I bet it was playing down the street when I went to see Flashdance. (What a feeling!) Oh the innocence of youth.

I'm quite convinced that if Passion and First Name: Carmen had suddenly dropped out of the sky as the first works of a brand new Director, there would be seperate and long threads about these, and we'd be gushing over them as fresh, ingenious and tantalizing works that slap Reagan's and Thatcher's faces while giving the finger to the MTV crowd. Or something like that.

Alas, that's an old hat for Godard.

Nobody needs an atomic bomb or a plastic cup.

"The End Of Small Films" my arse. Godard continued to be the unflinching champion of The Small Film, following that bold faced lie at the end of First Name: Carmen.

I thoroughly enjoyed Passion and Carmen, but Detective is in a higher plane/field/class from those altogether, methinks. The Lionsgate 82-95 box has thus far demonstrated to me that Godard never wavered/weakened/submitted. Tragedy, comedy, experimentation, bafflement, beauty....imho, these films proudly, defiantly, and with subtlety compete with the 60s works.

Damn, it is a wonderful set, and I haven't even seen Woe or the Bonus Featurette yet.

Noiretirc wrote:I thoroughly enjoyed Passion and Carmen, but Detective is in a higher plane/field/class from those altogether, methinks.

Absolutely, though welcome to the minority. Detective is one of Godard's absolute masterpieces and to my eyes the best of his 80s work. I suspect you'll get a kick out of the playfulness of Helas pour moi, though it's too bad you won't be able to watch it back to back with Nouvelle Vague

I just ordered Criterion's Band of Outsiders along with Masculin féminin and Pierrot le fou DVDs yesterday because it may be one of my favorite movies and it is the one that got me into cinema (likewise, Godard may be my favorite director at the moment, and the one who got me into world cinema). My question is, are the features that come with these DVDs fairly informative about how the movies were made, what Godard was thinking when he made them, etc. I'm looking for a somewhat historical edge, because I, as I'm sure many of you are too, am fascinated with Godard and his ideas on cinema. Also, which other Criterion extras would you recommend?

I have seen all of the Criterion Godard's except Tout va bien (and the short included on A Woman is a Woman), which I am correcting this weekend. I am looking forward to Made in USA because I love watching Anna Karina and also 2 or 3 Things I Know About Her. I haven't seen either and will probably buy the latter (regardless of the lack of extras) and rent the former (I've heard it's a minor work, so I reckon I should probably see for myself first). Also, can anybody recommend me some book about Godard or relating to him that you personally enjoy or found enlightening? Thanks, all.

Have you read the previous 21 pages of this thread?

tavernier wrote:Have you read the previous 21 pages of this thread?

I've read up until "Everything is Cinema" came out and it was talked about in this thread and each individual Criterion page for the Godard movies. Why do you ask?

Because most, if not all, of your questions have been answered already.

tavernier wrote:Because most, if not all, of your questions have been answered already.

Okay, I went back and looked through the eight pages at the beginning I hadn't looked at and none of my questions had even been addressed. The book thing was briefly touched upon on page 18 or so, but that's it. Mostly a bunch of links to reviews about "Everything is Cinema" and why it is bad/good.

Page 15

domino harvey wrote:Page 15

Thanks, I guess I know one book I'll have to try to read over summer.

james wrote:

domino harvey wrote:Page 15

Thanks, I guess I know one book I'll have to try to read over summer.

Which? For Ever Godard or the Brody book?

Noiretirc wrote:

james wrote:

domino harvey wrote:Page 15

Thanks, I guess I know one book I'll have to try to read over summer.

Which? For Ever Godard or the Brody book?

Not really sure yet. Probably either the Brody or the MacCabe.

The MacCabe book is quite good for getting a solid overview of Godard's life in its basic details. But the one truly essential Godard book, in my opinion, is Godard On Godard, which despite its title is not an interview book (though it does include 1 or 2) but actually consists mostly of samples of Godard's criticism and essays he wrote about his own films. It's an invaluable resource for understanding how Godard's critical mindset and filmmaking mindset are related.

There's also a great book of Interviews edited by David Sterritt, which spans a large portion of Godard's career.

I'd also highly recommend that once you've watched some more of the 60s films, dip your toe into his later work as well, which is every bit the equal of his 60s period -- the box set put out by Lions Gate contains some of his best work from the 80s and early 90s (First Name: Carmen, Passion, Detective, Helas pour moi).

sevenarts wrote:The MacCabe book is quite good for getting a solid overview of Godard's life in its basic details. But the one truly essential Godard book, in my opinion, is Godard On Godard, which despite its title is not an interview book (though it does include 1 or 2) but actually consists mostly of samples of Godard's criticism and essays he wrote about his own films. It's an invaluable resource for understanding how Godard's critical mindset and filmmaking mindset are related.

There's also a great book of Interviews edited by David Sterritt, which spans a large portion of Godard's career.

I'd also highly recommend that once you've watched some more of the 60s films, dip your toe into his later work as well, which is every bit the equal of his 60s period -- the box set put out by Lions Gate contains some of his best work from the 80s and early 90s (First Name: Carmen, Passion, Detective, Helas pour moi).

Thanks. I would have totally skipped over "Godard on Godard", but I think my library has a copy, so maybe I'll read it after all.

I'm actually working on his later work right now, since I've already seen all of his 60s output aside from La gai savoir, A Film Like Any Other, La Chinoise, 2 or 3 Things I Know About Her, Made in USA, Une femme mariée and some short films and segments from omnibus. From his later output, I've seen First Name: Carmen, which I liked; Hail Mary, which is probably my least favorite Godard to date, but I still liked it enough; and also In Praise of Love, which I also liked, especially the black and white segments.

james wrote:I'm actually working on his later work right now, since I've already seen all of his 60s output aside from La gai savoir, A Film Like Any Other, La Chinoise, 2 or 3 Things I Know About Her, Made in USA, Une femme mariée and some short films and segments from omnibus. From his later output, I've seen First Name: Carmen, which I liked; Hail Mary, which is probably my least favorite Godard to date, but I still liked it enough; and also In Praise of Love, which I also liked, especially the black and white segments.

Good to hear! I'm a big proponent of Godard's later work, which can be difficult but is well worth the effort. It's unfortunate that so many of his most important films (like Nouvelle Vague, King Lear and Numero deux) are missing from DVD entirely, though.

Also, you haven't yet seen 2 of his very best 60s films: 2 or 3 Things, which I'm sure you'll now have a chance to see from Criterion, and A Married Woman, which has recently been released in a definitive edition from MOC. Le gai savoir is also quite good, although it is *incredibly* dense and verbally complex, and would probably be off-putting to many.

sevenarts: thanks for the tips on the Godard books. need to order them sometime soon.