This appeared in Take One, July 15, 1979 (vol. 7, no. 8). Check out Dave Kehr’s recent column on 70s Akerman in the New York Times for some other reflections. —J.R.
Chantal Akerman is a tough filmmaker to tangle with, make up one’s mind about or describe. One thing’s clear enough though: Les Rendez-vous d’Anna, her fifth feature, is the most assertive film by a woman that I’ve seen since Marguerite Duras’ Le Camion — and probably the most accessible that Akerman has made to date. It might wind up serving as a calling card for the rest of her work.
A film that assumes the ambition (and pretention) of taking the pulse of Western Europe while pursuing a narcissistic autobiographical meditation obviously isn’t going to win everyone over — particularly when every shot has the visual weight of a battleship and nearly every facial expression has enough glumness to sink one. Take that, Akerman seems to be saying, offering up yet another drab, anonymous hotel room or train station at night, each one lit with precise, uncanny radiance, and hammering these cold, elegantly symmetrical compositions into our skulls with an obstinate will to power that makes Milius and Peckinpah seem like frollicking pussy-cats in comparison.… Read more »
From The Soho News, September 24-30, 1980. Their title (not mine) was “Bringing Godard Back Home”. This is the first of two interviews that I’ve had with Godard to date; the other one, 16 years later, can be found here. — J.R.
Jean-Luc Godard seems to be into transportation metaphors a lot nowadays. It’s been rumored that when Paul Schrader sidled up to him recently at a film festival and said, “I think you should know that I took something of yours from The Married Woman and put it in American Gigolo,” the Master coolly replied, “What’s important isn’t what you take — it’s where you take it to.”
Every Man for Himself, Godard’s first movie to open in America and show at the New York Film Festival in eight years, is first of all a vehicle designed to bring him back to us. It has all the ingredients that mainstream critics have been clamoring for: stars (Isabelle Huppert, Jacques Dutronc), clearly defined characters and plot, lush music, beautiful 35mm photography, flaky eroticism, humor. “I’m really making my landing on the earth of story,” Godard tells me at one point. “Like a plane.”
Can it be sheer coincidence that he seems to take up prostitution as a theme only when he’s working in 35mm?… Read more »
From the October 15, 1980 issue of The Soho News. I should note the influence on my viewpoint of sexual politics in this article exerted by Sandy Flitterman, a feminist critic and one of the founding editors of Camera Obscura, with whom I was living in Hoboken during this period (roughly, 1979-1983). I should also note that my swipe at Coppola provoked an angry call from Tom Luddy, who was working for Coppola at the time. — J.R.
Every Man for Himself
Directed by Jean-Luc Godard
Written by Jean-Luc Godard,
Anne-Marie Miéville, and
Written and directed by
Directed by Louis Feuillade
In the latest lovely, desperate film by one of the most brilliant filmmakers alive, Jean-Luc Godard’s Every Man for Himself should be seen by everyone interested in movies or in life, without hesitation or delay. There are more ideas here per cubic second than one could find in a month of Paul Mazursky (or Ingmar Bergman) “think” pieces, and for this reason alone, Godard’s latest comeback is worth an hour and a half of anyone’s time.
Don’t let yourself get tripped up by the unfortunate masculine English title. The French that it strictly translates, Save qui peut (la vie), is genderless, save for the feminine article preceding the parenthetical “life”.… Read more »