Every Man for Himself

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william k Godard's 'return' to mainstream cinema, if you dare call it that, reveals a new, sovereign handling of image, sound, music and editing; the result is a complex, irritating, but likewise fascinating work of art. Rated 4/5 Stars •  Rated 4 out of 5 stars 03/31/23 Full Review Audience Member Welcome to a semi-autobiographical tale by Jean Luc Godard. One of the principal actors is indeed Godard himself (Jacques Dutronc). It's a multiple plot tale, revolving around the central theme of failed relationships. That of his on and off again girlfriend (Nathalie Baye) , his ex-wife (Paule Muret) and daughter (Cécile Tanner) and a one-night stand with a prostitute (Isabelle Huppert). It was hailed as his return to linear storytelling (being his other films can be quite esoteric). But it is still classic Godard with some outrageous dialogue (with the Italian car attendant) and unsettling frank discussion about entering prostitution (Huppert and Anna Baldaccini) being just two examples. The cinematography adds to the film's mystic, periodically having "slow motion" shots to illustrate loneliness and desperation sometimes met in life. The surprisingly strong performance of Huppert not as a femme fatale but that of a dispassionate woman trying to just make ends meet. Dutronc does a good job of being a man trapped in misery trying to end the cycle of failed relationships, while a brief but all too real performance of Paule Muret and Cécile Tanner were scene stealers. Nathalie Baye does give a strong performance as the "other woman" or "wronged lover" role, trying to move on literally (her ex-lover is taking forever to rent out their former love nest). Figuratively (most shots she is alone, e.g: long biking, walking shots, her moving out the country, away form the city). She even tries desperately to seduce her photographer friend (Michel Cassagne) who ends up finding her repulsive. Carefully crafted we find how all of these multiple plot points coalesce into a linear denouement that is abrupt but also gives a bittersweet conclusion to to this menagerie of lost souls. With everything said and done this might be one of my favorite yarns spun by Mr Godard. It's uncluttered design both intrigued me and kept me watching. While being a more conventional story it also gives the audience "shock factor" in ways that thickens the plot with twists and turns similar to Nathalie Baye's bicycle in the French countryside. There is once again no small scene in the masterstroke by Jean Luc Godard. Rated 4/5 Stars •  Rated 4 out of 5 stars 02/21/23 Full Review Audience Member good return to film from the master director Goddard Rated 4/5 Stars •  Rated 4 out of 5 stars 01/21/23 Full Review Audience Member "I don't feel like having ideas anymore." A post-revolutionary (after a *failed* revolution), post-La Chinoise, post-Weekend, post-marriage/relationship Godard movie. And the most explicitly self-critical (critical of Godard), and female (from a female perspective), Godard movie I've seen. Rated 4.5/5 Stars •  Rated 4.5 out of 5 stars 01/24/23 Full Review Audience Member There were better films releases in 1980, but this film might be the most artistically unique. Rated 4/5 Stars •  Rated 4 out of 5 stars 02/22/23 Full Review Audience Member I have been very excited to see this "Godard's return to cinema" and was thinking thank God that there will be films that succeed PIERROT LE FOU, MASCULIN FEMININ, but no. Godard merely returned to film medium, but not to his early style. Despite the use of film, the film looks and runs like a big video, like his later works. But still looking at it as what it is, it's still a very good film, and it made me laugh quite a bit. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 02/21/23 Full Review Read all reviews

Every Man for Himself

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