Le Gai Savoir (Joy of Learning) (Joyful Wisdom) (1969) - Rotten Tomatoes

Le Gai Savoir (Joy of Learning) (Joyful Wisdom) (1969)

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Le Gai Savoir (Joy of Learning) (Joyful Wisdom) Trailers & Photos

Movie Info

This experimental minimalist drama by Jean-Luc Godard is a totally plotless exploration of film language. The setting is a darkened soundstage with only a single light to illuminate two actors who discuss philosophy. The philosophy reflects the director's most radical thoughts about making films. When not discussing films, the two play word-association games. Though named Le Gai Savoir, this film is not based on the book of the same title by Friedrich Nietzsche but, very loosely, on Jean Jacques Rousseau's Emile. ~ Sandra Brennan, Rovimore
Rating: Unrated
Genre: Drama, Art House & International, Special Interest
Directed By:
In Theaters:
On DVD: May 13, 2008
Runtime:
Koch Vision

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Critic Reviews for Le Gai Savoir (Joy of Learning) (Joyful Wisdom)

All Critics (1)

Astoundingly sustained 92-minute fusillade-montage

Full Review… | February 18, 2010
CinePassion

Audience Reviews for Le Gai Savoir (Joy of Learning) (Joyful Wisdom)

Hey, Godard: Samuel Beckett wants his ideas back.
But whereas Beckett can sustain a existential point over the course of a two-hour drama by focusing on character, Godard is more concerned with getting a philosophical message across. May I suggest an essay? In a written medium the message can be properly digested, criticized, and understood, but Godard throws so much at us during this film that we end up lost in the mire of over-intellectualizing; it becomes mental masturbation, and by the end of the film, I feel like my brain has been fucked into silly putty. I try to comprehend him, but I find myself being bombarded by someone who thinks he has something to say but doesn't want me to listen.
My tour of Godard films is almost over. Thank God.

hunterjt13
Jim Hunter

Super Reviewer

I was ironically more interested in how Godard directed and edited the picture than in the actual ideas presented, which I felt weren't nearly as audacious or really anarchic as in other pictures of his like La Chinoise and Week End. It's a Maoist fuckin around, and it's fun to watch at points, but it also points to some of Godard's more perplexing cinematic essays as opposed to capping off his best decade as a filmmaker.

More deconstructionist navel-gazing from Godard, concerned this time with the language, how it relates to the visuals we see and how to re-invent it.

Just not my thing, I'm not as existential as I might've thought.

Pass.

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