Emerging from his politically radical period of low-budget, didactic political commentaries with revolutionary overtones, produced primarily on 16mm or tape for television broadcast, prolific French avant-garde iconoclast Jean-Luc Godard unexpectedly returned to commercial filmmaking with Every Man for Himself, finding reinvention in the age of video — a new formal frontier for the now-middle-aged provocateur. Godard’s star-studded return to more conventional cinemas, featuring Isabelle Huppert, Nathalie Baye, and Jacques Dutronc as Paul Godard (of course), a loathsome filmmaker humiliated by having been reduced to working for a TV studio, though shy of being considered a phenomenon in France or elsewhere, was well-publicized worldwide. Uncharacteristically, the aging filmmaker promoted the film extensively, pensively referring to it as his “second first film,” a somewhat deadpan admission that, to begin again, he had to shed the baggage of his underground period. Through this mainstream amelioration began a self-reflective period of filmmaking, reverse-engineering his formal fascinations — disruptive non-linear editing,...
- 10/18/2017
- by The Film Stage
- The Film Stage
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