It’s not uncommon for one to praise the ravishing cinematography even in films one doesn’t understand, but although there is some fine imagery in King Lear, by this point in Godard’s career — after a period in the 1970s co-authoring films with his partner Anne-Marie Miéville during which they seemingly resisted all kinds of ‘professionalism’ — it is Godard’s soundtracks which are most apt to be called beautiful. The distinctive reliance on texts now manifests as overlapping layers of spoken word, washing over the soundtrack like the Swiss lake by which this film is shot — primarily the recitation of Shakespeare by a stentorian voice, sometimes at the same time as Burgess Meredith’s Don Learo or Molly Ringwald’s Cordelia are speaking the same lines, though sounds of nature and of seagulls vie too for our attention from all sides. The plot, such as it is, has Peter Sellars (the theatre director, not the actor) as Shakespeare Jr. the Fifth seeking to rediscover his ancestor’s works after some vague Chernobyl-related calamity has befallen the planet. Godard himself steps in as a Shakespearean fool/savant, Professor Pluggy, with cables for a wig, farting ostentatiously, and muttering out of the side of his mouth. It’s not that this is exactly an adaptation of Shakespeare, so much as a play on the idea of authorship (“a cLEARing” as one of the film’s interchangeable subtitles has it), and a grand thumbing of the nose to great traditions (whether of cinema or theatre). It also looks forward a little bit to Godard’s Histoire(s) du cinéma with its use of overlapping film images and oblique commentary. One of Godard’s finest films of the 80s.
Screening alongside the feature is a short film from the year before, Meetin’ WA, in which Godard interviews Woody Allen, though it’s unclear the extent to which this is staged. The encounter is at times awkward, with Godard leading Allen down some rambling metaphorical lanes regarding the radioactivity of television and its effect on Allen’s own filmmaking, and when Allen’s answers don’t seem interesting to him, he fades out the volume or slows down the speed, or irises in (the film starts with an empty black hole over Allen’s head), or smash cuts to an intertitle and a burst of jazz. It’s a comic short, really, in which it’s Godard as the director who is the comedian rather than Allen as the subject.
King Lear (1987)
Director/Writer Jean-Luc Godard (based on the play by William Shakespeare); Cinematographer Sophie Maintigneux; Starring Peter Sellars, Molly Ringwald, Burgess Meredith, Jean-Luc Godard; Length 90 minutes.
Meetin’ WA (1986)
Director Jean-Luc Godard; Cinematographer Pierre Binggeli; Starring Woody Allen; Length 26 minutes.