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Contempt (1963)

Le mépris (original title)
Not Rated | | Drama, Romance | 18 December 1964 (USA)
Trailer
2:50 | Trailer

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Screenwriter Paul Javal's marriage to his wife Camille disintegrates during movie production as she spends time with the producer. Layered conflicts between art and business ensue.

Director:

Jean-Luc Godard

Writer:

Alberto Moravia (novel)
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1 win. See more awards »

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Cast

Complete credited cast:
Brigitte Bardot ... Camille Javal
Michel Piccoli ... Paul Javal
Jack Palance ... Jeremy Prokosch
Giorgia Moll ... Francesca Vanini
Fritz Lang ... Fritz Lang
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Storyline

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 <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Taglines:

Not Since "And God Created Woman" So Much Bardot...so much of the magic, the mystery, the animal magnetism that has made her the screen's most exciting woman! See more »

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Italy

Language:

French | English | German | Italian

Release Date:

18 December 1964 (USA) See more »

Also Known As:

Contempt See more »

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Box Office

Budget:

$900,000 (estimated)

Opening Weekend USA:

$14,826, 16 March 2008

Gross USA:

$903,986

Cumulative Worldwide Gross:

$920,144
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (cut) (re-edited)

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Between 1959 and 1967, Jean-Luc Godard made an unprecedented 15 movies, of which Contempt (1963) was the sixth. See more »

Goofs

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 »

Quotes

Paul Javal: [Reading from an art book on Ancient Pornography] "I hosted a skin contest among three beauties. They asked me to be the judge. They showed me their dazzling nudity. The first had a gently curving back with round dimples. The second parted her legs, her snow white skin grew cherry red, not crimson. The third was as still as a quiet sea. Her delicate skin rippled gently, shivering involuntarily."
See more »

Crazy Credits

The opening cast credits are read, without titles See more »

Connections

Referenced in A Letter to Elia (2010) See more »

Soundtracks

Capri
(French Version) Written and Performed by Georges Delerue Et Son Orchestre
See more »

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User Reviews

 
My favourite Godard movie
4 May 2014 | by cmccann-2See all my reviews

One of the central figures of the French new wave movement, Jean-Luc Godard revolutionized cinema in the late 1950's and early 1960's with films which mixed film-historical pastiche, pop art surfaces, and Marxist-existentialist philosophy in a fresh and innovative way. Released in 1963, Contempt arrived after a string of art-house successes and was at the time Godard's most expensive project, a widescreen story of a faltering marriage featuring big-name stars like Brigitte Bardot and Jack Palance. Though some will argue for Breathless and others A Woman is a Woman, to me Contempt represents the apex of Godard's art, an indictment of capitalism dressed up as big budget Hollywood-style entertainment.

Contempt follows Paul Jeval (Michel Piccoli), a struggling playwright who artistically prostitutes himself as the screenwriter for a film adaptation of The Odyssey to support him and his wife Camille (Brigitte Bardot). Paul's decision to write for money makes the couple's marriage an unhappy one, Camille dissatisfied with him for his inability to do something which is both spiritually fulfilling for him and financially lucrative for them. The film ends with Camille leaving Paul to run off with his producer boss Jeremy Prokosch (Jack Palance), the artist ultimately losing out to the larger mechanisms of capital.

The performances are all well-done, from Piccoli as the withdrawn Paul to Bardot as the coquettish Camille to Palance as the square-jawed money man. The cinematography of Raoul Coutard should be noted, having a pictorial beauty in its colour and composition which recalls the work of the artist Edward Hopper. Like Godard's other movies, Contempt has a playful and freewheeling approach in its structure and editing, at times randomly dipping into a montage sequence or tongue-in-cheek film homage. The story being told, as well as the film's more arty and experimental formal elements, make clear Contempt's status as a radically leftist work - a bomb to be tossed at a movie establishment which pumps out films conveyor belt-style for maximal profit.

In conclusion, one would be wrong to make accusations of "sell out" at Godard when looking at Contempt's original poster which exploits the sexuality of star Brigitte Bardot, because the film is just as radical as any of the director's other work. It's necessary viewing for anyone interested in the French new wave, time capsuling the period when the movement - building off the momentum of its critical hits -reached its apex. That Godard used his most commercial moment to craft a statement that was radically anti-commercial serves as a testament to his brilliance.


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