If Bande à part seemed to herald the end of the nouvelle vague, then this film of Godard’s, three years later, has a far more self-consciously terminal message, expressed as the final words on screen: “FIN DE CINEMA” (end of cinema). It’s an apocalyptic-themed sign-off to the pop art 60s, a grand gesture of defiance to those who would try to integrate his cinema into the mainstream, and — as ever — a heady fvck you to the United States and the forces of capitalism. It’s far from easy to stomach, but it certainly deserves a prominent place in his filmography, if only for the multiplicity of brightly-coloured messages it puts across in its relatively short running time.
As has become evident over the course of watching Godard’s 60s films, the way that the film opens is often a key to the message the film is pursuing (whether Karina’s face from various angles in Vivre sa vie or the self-reflexive tracking shot that opens Le Mépris). In this case, the title card itself holds that hint — the word “WEEK END” is broken up, repeated and reconfigured across several lines in red, white and blue colours, suggesting the fractured, disintegrated world the film is aiming to depict. At points, the film itself fragments, with repeated shots separated by black leader, and during one automotive conflagration, the film’s framing is even shifted so that the edges of the film show up (such that the tops of characters’ bodies poke from the bottom of the screen, while their legs are at the top). Returning to the film’s opening, although we begin in middle-class comfort among some executives in a meeting high up in a building, they soon spot a fight down at street level below. There’s an Olympian detachment to this scene that doesn’t last long, as the film quickly throws the middle-class couple at the centre of the film, Corinne and Roland (played by Mireille Darc and Jean Yanne), right into the heart of that conflict.
The couple’s story itself is fairly dispensible — in fact, when I watched the film most recently I didn’t even pick up on the plot point that they are travelling across country to kill her parents and then themselves. The key, really, is the journey, a twisted version of the classic American road movie presented as a series of largely self-contained blackly comic setpieces that cycle through murder, rape, arson, political theory and the wholesale dismantling of bourgeois Western civilisation. The fact that it doesn’t really hang together as a coherent plot may account for some of my difficulties in wholeheartedly liking it (and hence my rating), but then again that’s part of the film’s point. According to an early intertitle, it is a “film found on the junk-heap”, and it feels like that’s where Godard has returned the film by the end. During a lengthy scene of two revolutionaries reciting texts of radical liberationist theory, our protagonists can be found sitting on a literal junk-heap on the back of a truck.
Along the way there are many scenes pointedly skewering the hegemonic pervasiveness of consumerism and pop culture, as imported from the United States. “A scene of Parisian life” has our protagonists trying to back out of their driveway while being accosted by a child dressed in a native American costume, leading to them bumping into their neighbour’s car. The ensuing fight quickly escalates to gunplay and bloodshed — an absurdist overreaction to a minor automotive incident, but such is the way of the film, where affronts to one’s possessions frequently lead to bloody violence. In another scene, a horrific pile-up of cars and dead bodies, the only voice heard is Corinne screaming over the loss of her Hermès handbag. It’s the road movie trope that the movie keeps returning to, with its pervasive focus on car culture — generally in the form of twisted, burning wrecks. The film’s most famous scene is probably the long tracking shot along a traffic jam in the French countryside, the gridlock created by a fatal accident.
Those familiar with Godard’s cinematic development know that after this film he started concentrating on explicitly political films, with a Marxist-Leninist undertow, though this political consciousness was developing in his films throughout the 1960s. Therefore it’s no surprise to find a strong engagement with the class struggle (“lutte de classe” as per intertitles frequently flashing up on screen), sometimes framed by history, sometimes by literature or art. The poster-boy of the nouvelle vague, Jean-Pierre Léaud, wanders across the screen in Napoleonic costume declaiming a revolutionary text, while the character of Alice is set fire accompanied the words “this isn’t a novel, it’s a film!” (The reference here may be to Lewis Carroll’s children’s book character, though it might as well be to Jefferson Airplane’s “White Rabbit”, a psychedelic anthem for American youth released earlier in 1967.) Elsewhere we see a woman arguing with a farmer in front of her car propped against his tractor, the dead body of a man adorning it (she is of course arguing about the cost of her totalled car). Working-class bystanders look on implacably, framed by hypersaturated posters for various entertainments. At the end of the scene, all these characters pose together as if in a photo accompanied by the intertitle “FAUXTOGRAPHIE” — implying perhaps that photography (or filming for that matter) can create a false bond between the classes, who are ineluctably in war with one another. The disjunction is only enhanced by a later scene depicting an earnest grand piano recital at a farm, watchfully observed by the farm labourers.
The epithet most frequently applied to the film that I’ve seen is “carnivalesque” and it does indeed have that feeling of the ritualistic inversion of societal norms. At every level, bourgeois society and its underpinnings are satirised by Godard, abetted by the steady gaze and stately tracking shots of his cinematographer Raoul Coutard. Characters are all decked out in primary coloured costumes (not least the band of revolutionaries into whose orbit Corinne falls at the end of the film), and though the human blood effects have the same cartoonish quality, the film progresses to some rather disturbing live animal slaughter by its denouement. For this reason — as well as for its extended longueurs (scenes frequently unfold at a very measured pace) — it can be a difficult film to watch. Nevertheless, it’s self-consciously crafted as a grand statement on cinema and civil society in 1967, presaging the kind of upheavals that would happen in May 1968 (and to which French films even now still occasionally refer). As such, it’s possibly Godard’s most potent synthesis of his aesthetic and political concerns, and a fascinating document.
Next Up: An odd interlude in Godard’s career, and also his largest budget to date, was the collaboration with the Rolling Stones in London, One Plus One (also released as Sympathy for the Devil), but it furthers his political themes of the late-60s and looks towards a new collective cinematic creation.
Director/Writer Jean-Luc Godard; Cinematographer Raoul Coutard; Starring Mireille Darc, Jean Yanne; Length 99 minutes.
Seen at home (VHS), Wellington, February 1999 (and most recently on DVD at home, London, Wednesday 18 September 2013).