Maybe even it's nothing beyond a representation of an era? A snapshot of a zeitgeist. And why not make use of some of the most popular musical forms of that day? Makes sense to me. Although, if this may be the case, it'd have to be perceived as an artistic illustration, caricatured and creatively depicted. The chieftains of realism need not burrow too deeply here.
Funnily enough, I would have assumed that I'd find more interesting attraction in the political meandering flowing through the film, rather than the mundane musicological tasks, what with my interest for the Rolling Stones not extending far beyond "Paint It Black". But no, I actually found much enjoyment viewing the Mick Jaggers and Keith Richards noodling their instruments and attempting to assemble their song into a finished form. Godard especially excelled in this area, his ubiquitous floating camera subtly captures a band at work; the only allusion to the Frenchman and his crew coming when Jagger offers a "Ca va?" to the camera, which is met with no apparent reply.
It could be that previous experience with such Godard brilliance as Weekend and La Chinoise, has eroded the potential impression that the political content would have given me. The walk in the woods scene, where Eve Democracy is interviewed, giving only monosyllabic answers to the interviewer's questions, reminds me of both aforementioned films; geographically with regards the former, and the political content with regards the latter. The obtuse essaying in this scene is enjoyable, if not so cryptic as to be useless to those viewers looking for a clear statement of intent.
In the end, Godard annihilates the film world in quite a wonderful toppling of filmic walls. First, the Stones' studio world is penetrated by a rogue sound-mike, and then a rogue Godard, proffering cigarettes to the lads on the job. And the last scene is enigmatically set on a beach, where Eve Democracy runs around for a while, trampling all over the dolly track, then, following a faux-death, being situated on the camera crane. All is rather fun, if not deficient of clarity.
And therein lies the problem with Godard, he has a tendency to bat away interpretation, setting up a wall impenetrable to the daggers of analysis and elucidation.
It would belie Godard's inherent hostility to convention were he to have chosen a musical subject whose tunes are rife with references to Bolshevism and whatnot. It seems that the awkward combination of themes is only something to be welcomed by the figurehead of the French New wave. "Gimme all the asymmetries you can accumulate," he says, "and I'll give ye some artistic construct of it." "Fair enough," says I to Godard.
Article comments
1 - Steve C.
I always knew cinema was a lifeblood of sorts, but I never expected it literally.
Awesome stuff, as always. I'm never quite sure what to make of Godard, but rarely are his films not worth a look at least.
2 - Aaron Fleming
I agree Steve, Godard's films are always at least somewhat interesting, even though some are much better than others; just compare Alphaville with The Riflemen.
And thanks!
3 - Mat Brewster
Should I comment on the cinematic hoo hah or the Fleming moth? Too hard to chooose, so I'll just say I this very noon picked up a copy of Alphaville and look forward to its cinematic graces.
Brillians stuff gents, absolutely brilliant.
4 - Aaron Fleming
Alphaville is genius Mat, you'll love it!
5 - -E
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