Customer Reviews:
Interesting and arresting articles !.......2004-12-21
Godard displays all his unimaginable masterful in this set of reviews originally written for Les Cahiers du Cinema in the far Fifties .
The charm , of this enfant terrible is present all alnog the text .
The reviews about Orosn Welles , Ingmar Bergman , Francois Truffaut , Mizoguchi and his favorite western Seven men from now of Budd Boeticher (I have not watched it) are specially revealing .
Acquire this book , because despite the fact you may argue these reviews are dated , constitute - and who denies? - a crucial period in the cinema story .
Godard and Films.......2000-02-01
I've just read the book and though it dragged at some points because I wasn't familiar with a couple of the films he was talking about it, the overall experience was uplifting. If you have the slightest interest in Godard and the New Wave read the book and get inside a New Wave director's head and see how he looks at films. The book contains a number of his Cahiers du Cinema reviews and articles, and some interviews he gave later in life. By the end of the book you finally begin to understand a little of how this genius thinks.
"Negation of all surreal (capitalist) values.".......1997-12-25
"Weekend (best pre-packaged volition)." -Premature Positivity
Book Description
When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godards work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting imagescultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as aif not thekey influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godards technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godards wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godards greatness and shows decisively that his films have left their mark on screens everywhere.
Book Description
A thought-provoking assessment of the history of cinema from one of its masters Cinema is a unique book from one of the most important film-makers in history-Jean-Luc Godard. His influence is cited by key contemporary filmmakers, including Robert Altman, Martin Scorsese, Jim Jarmusch, Wim Wenders, Steven Soderbergh and Quentin Tarantino. Here, in an interview with Professor Youssef Ishaghpour, Godard looks back on a century of film as well as his own work and career. Born with the twentieth century, cinema became not just the century's dominant art form but also its best historian. Godard argues that-after Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers-film and history are inextricably intertwined. Godard presents his thoughts on film theory, cinematic technique, film histories, and the recent video and DVD revolution. He expounds on his central concerns-how film can 'resurrect the past,' the role of rhythm in film, and how cinema can be an 'art that thinks.' Godard defines his lifelong obsession with cinema as well as cinema's lifelong obsession with history.
Customer Reviews:
Deceptive.......2005-09-12
Very quickly- I also bought this for Godard's comments. I would'nt have spend so much for such a brief book otherwise. Strangely almost all of Godard's comments are cut short(lots of ......after his coments). The editor (of the fine journal Trafic) is almost always quoted in total. Also, I found Ishagapours comments predictable. I lost my interest in post structuralist & post colonial theory years ago. Once the post Baudrillard,Virillo, Lyotard generation starts writing it seems "prewritten":all the comments seem no more than illustrative of the various theories assumptions. Godard speaks/writes impressionistically with brilliance. It's a style of writing attacked by the critics who praise his work. Impressionistic writing (also derided by conceptulists like Kosuth earlier) I think allows for novel insights. It's too bad a dazzling impressionist is truncated by a self absorbed editor. Any interview where the subject has 1/5 th space of the interlocutor is odd indeed. Worth buying if you love Godard and can afford so much for only a few pages.Godard's comments get 5 stars. If you can read French there is a brilliant volume of Godard on Godard featuring more recent writings(than the earlier English language volume). Why it is'nt translated is a mystery to me. Why texts like this are instead is also a mystery.
A real dialogue.......2005-06-20
All along his life, Jean-Luc Godard has looked for interlocutors, partners. The form of the speach, discourses and specifically dialogues (exchanges, dialectics, maieutic...) is a seminal research in his work and his global practice. Several of his best films are only dialogues, as "France Tour Détour" to name only one. But he rarely met people who dare to act as full interlocutors, not as disciples or as simple fans. Ishagpour, a very acurate, cultivated, elegant French-Aegyptian critic, expert on Welles and modern cinema, is one of these rare persons, and the result is excellent.
A total misrepresntation representation (A JLG admirerer).......2005-06-05
This small book of dialogues between Godard and Youssef Ishaghpour is, to put it mildly, a total rip off. In their dialogues Godard furnishes us with no more than 20 pages of
comments to Ishaghpour's exceedingly lengthy comments and questions. After just viewing Godard's excellent new film, "Notre Musique" this was a real "downer." The mention of the Archaelogy of Cinema in the the subtitle and "The Gaze" as a chapter title led me to believe this would have a tint of the the thought of the great french social philospher Michel Foulcault (he is mentioned once or twice).
I thought a good interviewer is supposed to evoke meaningful responses from his subject. Ishaghapour doesn't let- or Godard doesn't want to- get more than a few sentence reponse in.
Another annoying element to this borderline fraudelnt presentation is that the Amazon description gives the impression this is significant tratise on Godard's thoughts on the twentieth century's political and cultural events. Rather Ishagapour is given a forum for his thought and his interpretations of Godard. Worse still, Godard doesn't even
display his critical acumen or irreverance and is led like a lamb by his interviewer,
I'm not saying that Ishaghapour doesn't have some worthwile comment's plus an article at the end of the book. But wasn't this supposed to be about JLG- duh?
I sincerely hope I am wrong. I'm definitely sending this one back. Come on now. How dumb do the publishers think we have become to think that this book is anything but a misuse of the master's name.
There are some intereting testimonials by major figures and institutions on the back of this book by "The Village Voice," Pauline Kael...but none refer to this book.
Average customer rating:
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Jean-Luc Godard's Pierrot le Fou (Cambridge Film Handbooks)
Manufacturer: Cambridge University Press
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Book Description
Jean-Luc Godard's Pierrot le fou (1965), made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high- and popular culture. A full filmography and a selection of reviews are included.
Customer Reviews:
Godard's great film!.......2001-11-19
Thank God for university presses that publish books about little known or even unavailable films. Godard's Pierrot le fou (France, 1965) was recently released on DVD, and if any film ever needed footnotes, this is it. Now one can read Cambridge Film Handbooks's Jean-Luc Godard's Pierrot Le Fou, edited by David Wills, and enjoy the book as a supplement to an almost-forgotten masterpiece. Pierrot le fou is a cinematic work that nails the '60s in 110 minutes. The plot is quite simple: A bored man portrayed by ultracool Jean-Paul Belmondo goes to a party with his wife, at which everyone converses in advertising slogans. He leaves and runs off with his baby-sitter, played by the beautiful Anna Karina, and they go on a crime spree. Ridiculous? Well, this is a Godard film. The baby-sitter is named Marianne, and she symbolizes the French republic, as she is consistently clothed in the colors of France. Marianne thinks she is in a movie (which she is) and wants emotion and movement. The Belmondo character, Pierrot, wants to leave civilization, live on an island, and read books -- a character with whom I fully sympathize. He wants to live in words and thoughts, and she wants emotion and action. The film is about role-playing, the nature of cinema and its audience, Vietnam (where the French had difficulties before the Americans did), and the dynamics between reading and action.
The book contains five essays, each focusing on specific aspects of the film. The writings form a critical study, rather than just including gossip about the film shoot and about its participants. The most interesting essay is the last one, "Pierrot le fou and Post New Wave Cinema," by Jill Forbes. The essay focuses on the complexity of Pierrot le fou: Since the characters know they are acting out their dramas in a film, Forbes discusses how this relates to their world in terms of audience. Forbes also writes about Godard's use of the poetry of Arthur Rimbaud, who invented a poetic language "that will be used by all the senses." Godard plays with film genres, such as the musical, and incorporates literature into his cinema as well. Not only are there literary chapters named after Rimbaud's poetry in the film, but his use of color and quotations gives the work layers of meaning. One could argue that his films are really open-ended essays on the nature of language, images, and life. I recommend this book, only as a supplement to this fantastic film, which is a sort of book in its own right.
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Alphaville; a film (Modern film scripts)
Jean Luc Godard
Manufacturer: Simon and Schuster
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Customer Reviews:
Insightful and thought provoking !.......2007-01-09
Great compilation of interviews with the polemical JLG, film students and other filmmakers.Illuminates JLG's trains of thoughts and ideas he explored in many of his most famous movies.
is it mere coincidence that godard starts with god?.......2001-05-31
i can very simply sum up how i feel about this title: one cannot possibly go wrong with the words straight from jean-luc "cinema" godard's mouth. made up of interviews with godard over the decades of his career, this book illuminates godard's various phases and his astounding ideas on cinema and art and life in general. the man is an amazing artist, and if you are at all familiar with his films, you owe it to yourself to read some of what he has to say. his insight into filmmaking and his personal output greatly increases any understanding of his cinematic works. i recommend this book to any student of cinema, academic or just curious, or to anyone who has ever watched a godard film and still had many questions after the screen turned dark. and of course, if you're a godard nut like myself, you should buy this right now and thank me later; this is required reading for godard devotees.
A great view into the mind of Cinema's premiere genius........2000-09-25
Along with GODARD ON GODARD, this book is a must-have for any serious cinema affecionado. The interviews with Jean-Luc Godard are relevatory and thought provoking, and are essential to read alongside viewing his films. It covers his work from his (more popular) early/mid-sixties films through his video work in the eighties and back to his films of the nineties. Highest recommendation.
Book Description
Breathless, a low-budget film, came to be regarded as one of the major accomplishments of the French New Wave cinema of the early sixties. It had a tremendous influence on French filmmakers and on world cinema in general. Beyond its significance in film history, it was also a film of considerable cultural impact. In Breathless, Jean-Luc Godard captured the spirit of a disillusioned generation and fashioned a style, which drew on the past, to parade that disillusionment. In his introduction, Dudley Andrew brilliantly explains what Godard set out to accomplish in Breathless. He illuminates the intertextual and cultural references of the film and the tensions withiin it between tradition and innovation. This volume also features, for the first time in English, the complete and accurate continuity script of Breathless, together with Francois Truffaut's surprisingly detailed original treatment. Also included are an in-depth selection of reviews and criticism in French and English; a brief biographical sketch of the director's life that covers the development of his career, as well as a filmography and selected bibliography. Dudley Andrew is a professor of film studies and comparative literature at Yale University. He is the author of Concepts in Film Theory, Andre Bazin, Flim in the Aura of Art, and other books on film.
Customer Reviews:
Good Piece of Information About a Great Movie.......2003-05-14
This book is a good guide to one of the most interesting movies of our time. This book not only gives the reader some background material about how it came to be, but it also has the script of the movie included for you to read. Even though there was no real script when the film was made, the editor of the book was able to break down the movie shot by shot and give the reader some sort of continuity script. The end of the book is filled with interviews and reviews of the film.
I think this book is a very good tool for those interested in the movie "Breathless" because it helps you understand not only the movie a little better, but the method behind Jean-Luc Goddard's madness. I would definitely recommend this book to those who want to learn more about this innovative and extremely interesting piece of film!
Customer Reviews:
One of the most unique, moving, and poetic science fiction films ever made..........2007-04-04
This film really doesn't get as much attention as it should. I was recently watching clips of this on youtube, and was struck by a couple of comments. Someone wrote "how does Godard do it? He uses very old fashioned techniques here (dissolves, fades), yet, makes one of the most profound films ever made?". Another wrote "because he's an artist". This is so true. This is one of most challenging, complex, cerebral science fiction films ever made. Despite the fact that it was shot in current day Paris when it was made (with no futuristic sets or anything like that), it still feels like it's futuristic. People live well, but live without heart and soul, which seems to be Godard's point (or one of many...Godard's films are amongst the most complex ever made). There are too few science fiction films like Alphaville. It belongs in a very select category along with 2001, Solaris (the original), A Clockwork Orange, THX 1138, Twelve Monkeys, Stalker, Blade Runner, and A.I.. It is among the sci-fi films that appeal to the mind and soul rather than overwhelm your senses with lots of fast cuts, CGI graphics up the wazoo, and a completely soulless approach to character and ideas. This is one of Godard's classics, which is really saying something considering how brilliant the man is...
Brainwashed Drones.......2007-01-17
Lately I have been interested in watching films that have a strong leftist political feel to them. In the realm of Japanese film I have been viewing and purchasing films from the 1960s that have connections with the leftist theatrical troupes and student and social movements. Of course directors like Oshima Nagisa, Imamura Shohei, and Susumu Hani play an important role during this movement so I have picked up a number of their films. Anyway, I am slowly, but surely, developing an interest in films from America, France, etc. that also deal with this same time period and it is quite interesting to compare both diverse and intermingling themes within these films.
In the realm of French cinema, especially that of French New Wave Cinema, the director who has some of the strongest leftist sensibilities is Jean-Luc Godard. I have been trying to watch quite a number of Godard's films and some of them have left me completely cold, but perhaps that is due to general lack of interest on my part when I attempted t view said films, while others I enjoyed quite a bit. Band of Outsiders is still my favorite Godard film. Anyway, the most recent Godard film that I watched is Alphaville (1965).
Alphaville is a Sci-Fi mystery film that honestly has very few elements that can label it a Sci-Fi film. There are no futuristic settings and one does not witness any spectacular scientific inventions. However, there is one glaring exception to this, and that is the presence of Alpha 60: a massive, sentient computer with a nearly omniscient mind about the happenings with Alphaville and with a voice that might remind one of a French Hal who has smoked way too many cigarettes. Whatever its purposes might be, Alpha 60 represents the ultimate in mind control. Basing everything on logic, Alpha 60 eliminates anyone who displays emotion, including a man who cried after his wife died. Such a lovely place to live, isn't it? Well for most of the people who live in Alphaville this is the only world that they know. A world in which words are constantly being eliminated, such as tenderness, because they call up emotions and one in which the dictionary, which is always changing because words are constantly being changed, has replaced the bible as the key "holy" book.
However, in the Outlands people still have that own thoughts and feelings and the spy Lemmy Caution, disguised as the reporter Ivan Johnson, has received orders to find his fellow spy Henri Dickson, a Dr. Von Braun, who he is either to return to the Outlands or liquidate, and destroy Alpha 60. Around forty-five, dressed in a beat up trench coat, and a chain smoker, Lemmy Caution looks more like a gumshoe than a spy from the future, but he is highly capable: At least, until he meets Natasha Von Braun, the daughter of Dr. Van Braun and an example of someone who might possibly be extricated from the power of Alpha 60.
The first fifteen minutes or so of Alphaville were hard for me to watch because I had a hard time getting into the right frame of mind for a Sci-Fi film that looked like it was filmed in the backstreets of Paris, which it was, but I was able to get drawn into the film a bit more as it continued. Godard's film is not only an attack on Communist policies, i.e. Stalinist policies, but it is also an attack on Capitalism as well. While brainwashed, most of the residents of Alphaville material desires are satiated by the system. However, can material items truly replace deeply engrained human emotion? Hopefully not, but Godard's film shows how an oppressive government attempts to mold the minds of its citizens. A must for fans of New Wave cinema and recommended for casual foreign movie fans, Alphaville might not be an enjoyable movie experience, but it will at least get the brain juices flowing.
Hollywood action and SFX it ain't...........2006-12-01
This film has inpsired several later films, like Brazil and Logan's Run. What I found so unique with this film, however, is that it did draw me in, but not in a passive way. Rather, it, in contrast to most other films, it actually helps the imagination, and forced me to be an active viewer and interpreter: it does not serve ready made experiences.This film demands attention from its viewer. What immediately struck me when I watched this film was that over half the story is told by the photography. Both the imagery and the dialogue intentionally leave gaps, which have to be filled in by the imagination of the viewer, and interpreted by each individual viewer.
The imagery tells us about a city built completely logically. No attention to artistic expression or human comfort has been paid. The humans are all given roles as servants of the order. There are obvious allusions to the police collaborators during the German occupation.
Outside of the city there is the semimythical and chaotic Outside. It is from here a hired assassin arrives to find the scientist responsible for the computer that runs the city. He is also an observer. He, being from Outside, is able to see the absurd and bizarre results of this "logical" society. He is also able to see how vulnerable the city really is...
A French Film........2006-10-01
Our hero is Lemmy Caution. He loves gold and women, yet never seems to like the women he gets. He has a gun which he uses and a lighter which is always lighting fresh cigarettes. He says he is a reporter, he does have a camera, but in fact he is an agent from the Outlands. He has come to either kidnap or kill the scientist, who invented Alpha 60, a computer that runs the city of Alphaville. A society where emotions and certain words have been removed and logic rules. The computer, like 18th Century humans who wished to dominate nature with reason and logic, wants to rule mankind with logic and rational thinking. Yet why do people who live there like to bat at light bulbs and take drugs?
HA! What is logically about women in swimsuits killing people in a pool with knives? None of the film really makes that much sense. Of course it could be that a computer's logic is not the same as mankind's. The film had French actors and is a film which was filmed in black and white, so it is a French film released in 1965 in black and white. MST3K would have had problems with this flick - it is surreal but also, I think, badly edited. It is science fiction without any special effects. It is many themes that just don't seem to mix well. Even the sound clues, which should tell us when something important is about to happen, were clueless. The music would swell up and become all dramatic when somebody was riding an elevator or lighting a cigarette. At one point the female character was blind, then seemed normal, then was blind again.
Now I still enjoyed it in a bad B-movie kind of way and some scenes really seemed to work for me. Such as when the computer is questioning Lemmy, with the blinking lights and moving microphones, it really looks like something out of a dystopian future. And how a computer's voice told you if the room was empty or not when you passed it. And the women in the film are pretty cute if underused.
But in the end all you can say about it is that Lemmy smokes too much and that love and art is important in any culture. 99 minutes of something but I'm not too sure what that something was. When it comes to the Criterion Collection I should stick to the Japanese or American films.
Futuristic hard boiled sci-fi.......2006-09-29
"Alphaville", the brainchild of director Jean-Luc Goddard is a low budget, campy sci fi detective yarn starring the chain smoking pockmarked Eddie Constantine. Constantine plays Lemmy Caution a rumpled secret agent from the Outland sent to Alphaville to bring back a Professor Von Braun or liquidate him, to apparently avert a possible intergalactic war. Von Braun played by Howard Vernon, a previous Outland inhabitant, has invented the Alpha 60, a tobacco wheezing supercomputer that runs the society.
Alpha 60, which rivals emotionless computer HAL in "2001" for its treachery, rules by virtue of logic at the expense of human emotion, scorning individuality. Any display of this particular foible results in the extermination of that individual. The computer routinely eliminates worlds from the Alphaville vocabulary as they become obsolete.
Constantine is aided in his mission by Von Braun's daughter Natacha played by Anna Karina. They eventually fall in love, a situation impossible in this tabooed society.
Goddard's 1965 flick filmed within the modern, at that time, chic and impersonal sections of Paris smacks of social commentary and is a mish mosh of multiple genres.
Customer Reviews:
50 books to 1 record.......2007-05-19
During the year of 1965, Jean-Luc Godard would create three highly acclaimed films: Alphaville, Pierrot le fou, and Masculin, Feminin. What makes this accomplishment even more outstanding is the fact that these three films could not be more different from each other with Alphaville being an Orwellian science fiction film and Masculin, Feminin being a romance with a strong socialist edge. However, amongst these three films it would be the lone color film Pierrot le fou, Peter the Wild, that would garner most critical attention. Having watched all three films myself, I can say at least that Pierrot le fou is indeed the most experimental of the three films and it delves heavier into the potential of film as a medium that the other two, but is it as enjoyable as the other two films? In my opinion, no, it is not a very enjoyable film and it borders on absolute tedium at times.
The film opens with Ferdinand Griffon, Jean-Paul Belmondo, reading in the bathtub while puffing away on his ever present cigarettes. Being forced to attend a party that he does not want to attend, Ferdinand states that he would prefer to stay at home with the children. Yet, because her husband is unemployed, Ferdinand's wife is insistent that he will attend the party. Also, a fellow party patron's niece will look after the children. On their way out, Ferdinand meets Marianne, Anna Karina, and soon is whisked off to the party. The party turns out to be a complete bore with its patrons speaking as if they were commercials. Ferdinand soon flees home and it is at time that we the viewers learn that Ferdinand and Marianne shared a relationship with each other some years before and, as he is giving her a ride home, Ferdinand soon decides to abandon his family. After spending the night with Marianne, Ferdinand sees that there is more to the young, pretty girl than meets the eye when he sees several automatic weapons in her apartment and not to mention a dead man with a pair of scissors sticking out of his neck. Therefore, they begin their lives on the run promising to love each other, but can that truly come to be?
I have watched a handful of Jean-Luc Goddard films now and for the most part my reaction has been quite cool towards them. I respect that they are quite creative and that Godard pushes the boundaries of film. I even like the strong socialist and antiwar groundings within the films, but at some points the films just come off as a bit ludicrous to me or that they were striving so much to become "art" that they ignore entertainment value for the viewer. I am not trying to say that I do not appreciate films that make the viewer think, I really enjoy the Brechtian films of Oshima Nagisa, but at least I want to feel some enjoyment while watching the film instead of feeling my eyes glaze over. I do think this film is important to watch in order to see the progress of the French New Wave, but if you want to simply enjoy a French New Wave film watch a François Truffaut film instead.
Important, yes, but not terribly watchable........2007-05-12
Pierrot le Fou (Jean-Luc Godard, 1965)
I've been going through the hundred best films of all time, as rated by the massive collection of critics' surveys and the like housed at the They Shoot Pictures, Don't They? website, and I've found that most of them deserve (or seem to) the accolades. But there are some movies that make me wonder what all those critics were thinking, and Pierrot le Fou is one of them. Yes, I get that Godard was one of the leading lights of the New Wave in French cinema. But it's kind of like billing Woody Allen as the greatest comic filmmaker of our time; I just don't see the attraction.
The plot of the film starts off simple: Pierrot ("my name is Ferdinand!") (Jean-Paul Belmondo), a man bored with his stultifying life, runs away with his babysitter, Marianne (Anna Karina), an old girlfriend. He soon finds out he got a lot more than he bargained for as the plot gets ever more complex, but paradoxically plays less and less a role in the film as Godard wanders off into pointless sociopolitical posturing. It's an attractive film, competently directed, but barely coherent at best, a thin canvas of movie disguising a rambling political statement. **
Highly regarded by some, but somewhat overrrated in my opinion.......2007-03-01
This 1965 movie by Jean-Luc Godard is considered by some as among his masterpieces. I think, though, most people (with the exception of Godard fans) would find it somewhat overrated. The plot has a couple (Jean-Paul Belmondo and Anna Karina) fleeing Paris in a car for the French Riviera, but as in almost all Godard films the plot matters very little. What matters is the off-the-cuff style of filmmaking, the nonsensical situations the couple has to go through, the droll performances, the musical interludes, the comments on the political situation of the time (Vietnam war included), the movie's take on American genre films. Still, I can't say the movie isn't thought provoking: when I saw it, what crossed my mind is that while the couple are two young adults, in their twenties, they really behave as if they were children. Spoiled by their parents, who wanted to protect them from the horrors they have witnessed in World War II, the children of the 60s were really very immature in their perspective (not that they were not right in many issues, and that thanks to them a more relaxed, less conservative society come about in the west).
we meet in eternity - no its just the sea with the sun.......2007-02-15
Godard's pierrot le fou is one the most successful comedy/tragedy/political/crime-thriller/musicals he ever made. It breaks all the rules, as all his movies do, but plays with such gusto and joie de vivre to keep any audience in their seet untill the end.. It stars the great jean-paul Belmondo who was introduced to us in 'breathless' - this is an equally enchanting film.. Godard's use of color in the widescreen format is very effective (also see 'contempt' it is probably Godard's best color feature).. This is self-concious cinema at its finest.. combining literary and political references with theatrics and chase scenes.. This is a transitional Godard moment - getting evermore political - yet still in his full new wave examination of different cinematic techniques.. It keeps your interest at the same time as challenging your mind (something not all of his films achieved).. This is one of his best..
Is this the only DVD in print?.......2007-01-17
It's great to have this entertaining film in widescreen and on DVD, however the mastering here is terrible. Either it's an old transfer or done on a short budget because the encoding here really is poorly executed. On my television Anna Karina's jawbones looked like they were built of Legos. This film deserves better. Maybe Criterion will come out with a version. If you don't care about the presentation and are just dying to see this film again the money is probably worth it.
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