A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let his wife Camille drive with Prokosch and he is late, she believes, he uses her as a sort of present for Prokosch to get get a better payment. So the relationship ends. Written by
Stephan Eichenberg <email@example.com>
The noticeable color palette of the film - red, white and blue - represents both the French and the American flags. See more »
It is possible that all "mistakes" in the film that involve visible equipment are intentional, or at least intentionally uncorrected: the film, after all, is about the artificiality of making a film, and the initial credit sequence shows filmmakers shooting the film itself. See more »
I've noticed the more we doubt, the more we cling to a false lucidity, in hope of rationalizing what feelings have made murky.
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The opening cast credits are read, without titles See more »
"Intriguing illustration of the filmmaking process..."
Jean-Luc Godard's 6th feature film tells the story of American film producer Jeremy Prokosch, highly regarded Austrian-American filmmaker Fritz Lang and novelist and screenwriter Paval Javal who are collaborating on a film adaption of Homer's "Oddysey", which causes critical disagreements. The process estranges the screenwriter from his wife Giorgia Moll, and the rising conflict between the three men results in her becoming the fourth member of the production.
French-Swiss film critic and director Jean-Luc Godard's adaption of an Italian novel written by Albert Moravia in 1954 called "II disprezzo", is an Italian-French co-production shot exclusively in Italy, which centres on the marital challenges a young couple faces during a pretentious film production. This vigorous drama from La Nouvelle Vague's most prominent and outspoken representative is an intriguing illustration of the filmmaking process constructed through a linear narrative which is accompanied by French composer Georges Delerue's melodic and instrumental theme song.
Jean-Luc Godard's directing in this film within a film is striking. The way he uses repetitions of previous scenes to create subtle transitions, the long takes where the pace is progressed by the dialog, the fast tracking shots, his attenuate camera movements, his structured perspectives and the tension he manages to maintain while depicting rich character portrayals of the two protagonists embodied by Michel Piccoli and Brigitte Bardot, is impressive. The ravishing cinematography by Raoul Coutard, especially of the alluring landscapes on the Capri Island and the luminous milieu depictions creates evident contrasts to the main characters' contradictory relationship. "Le Mépris" has a throughout uncanny atmosphere and the memorable scenes with Michel Piccoli and Brigitte Bardot are finely acted in a film that possesses the distinctions of a masterpiece.
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