6.6/10
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8 user 14 critic

For Ever Mozart (1996)

Not Rated | | Comedy, Drama, War | 4 July 1997 (USA)
Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the ... See full summary »

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Cast

Cast overview, first billed only:
Madeleine Assas ...
Camille
Ghalia Lacroix ...
Rosette
Bérangère Allaux ...
Actrice
Vicky Messica ...
Metteur en scène
...
Jérôme
Harry Cleven ...
Grand écrivain
Michel Francini ...
Baron
Sabine Bail ...
Sabine - amie du Baron
Max André ...
Conseiller
Sylvie Herbert ...
Maman
Cécile Reigher ...
Assistante opérateur
Dominique Pozzetto ...
Stagiaire
Nathalie Dorval ...
Journariste
Dan Thorens ...
Serb Corporal
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Storyline

Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the attempts by a young group of idealists to stage a play in war-torn Sarajevo and an elderly director's efforts to complete his film. Written by Anonymous

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Comedy | Drama | War

Certificate:

Not Rated | See all certifications »
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Release Date:

4 July 1997 (USA)  »

Also Known As:

Para Sempre Mozart  »

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Aspect Ratio:

1.66 : 1
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Connections

References She Wore a Yellow Ribbon (1949) See more »

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User Reviews

 
It is Necessary to Dream (with spoilers)
22 July 2004 | by See all my reviews

This seemed quite accessible to me, at least in the context of late Godard. The title is a pun on "Il Faut Rever", setting the theme of art in troubled times. The story is about a group of young and somewhat naive actors setting off to perform the Musset play "On Ne Badine Pas Avec L'Amour" (One mustn't trifle with love") in Sarajevo and coming the inevitable cropper on the way. Meanwhile the lead actress's grandfather plays the now standard "Godard" role of an old filmmaker battling with producers and technology to get his film made.

The photography and use of music is often heart-stoppingly beautiful, the response to the Balkan conflict seems to me as serious as it should be while contrary to other comments there is certainly humour here both bible-black (a woman spouts philosophy while digging her own grave, a guerrilla shows a comrade what we assume are holiday snaps but are revealed to be photos of the massacre of her family) and knockabout (a film producer complains Lake Geneva has "not enough water", the audience for the old man's "Fatal Bolero" comments on a film suspiciously similar to the one we have just watched).

As ever there are numerous references which those of us not steeped in French literature will miss, but overall this seems the most direct and outward-looking of Godard's later films. I liked it very much.


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