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Masculin Feminin (1966)
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Reviews Counted:33
Fresh:31
Rotten:2
Average Rating:8.5/10
Consensus: A '60s time capsule stuffed with ideas about politics, pop culture, and the battle of the sexes, Masculine-Feminine is one of Godard's classic black-and-white films.
Theatrical Release:Feb 11, 2005 Limited
Synopsis: A film about "the children of Marx and Coca Cola" directed by the child of Brecht and Hollywood, MASCULINE-FEMININE is a touchstone in the career of Jean-Luc Godard, a window into the kinetic world... A film about "the children of Marx and Coca Cola" directed by the child of Brecht and Hollywood, MASCULINE-FEMININE is a touchstone in the career of Jean-Luc Godard, a window into the kinetic world of Paris in the 1960s, and a high point in the cinema of the French New Wave. It chronicles the love affair between Paul (Jean-Pierre Leaud), a young zealot with revolutionary leanings, and Madeleine (Chantal Goya), a fetching pop singer. Their relationship gradually breaks down as the two attempt to bridge their differences, albeit unsuccessfully (he likes Bob Dylan, she is only interested in the top 40). Along the way, they discuss current world culture and politics with their friends, and encounter a variety of bizarre individuals who only serve to exacerbate the youthful confusion of both Paul and Madeleine. One of Godard's most insightful films, MASCULINE-FEMININE represents a search for tenderness, and is, at the same time, an unsettling illumination of the Battle of the Sexes. By casting legitimate pop sensation Goya in the lead role, Godard threatened to date his film, taking into account the speed with which pop singers are replaced. Luckily for him, Goya is an engaging screen presence whose mere appearance is enough to keep things interesting. [More]
Starring: Jean-Pierre Léaud, Chantal Goya, Catherine-Isabelle Duport
Starring: Jean-Pierre Léaud, Chantal Goya, Catherine-Isabelle Duport
Director: Jean-Luc Godard
Director: Jean-Luc Godard
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Reviews for Masculin Feminin
For all the doubt and acrid aphorisms, despite the gunfire that interrupts the soundtrack, and the playful, random death that flits around the edges, there's an indestructible core of romanticism.
One of the quintessential '60s foreign art films, a bizarre melange of pop music, revolution, sex, movie allusions and poetry.
No one was ever better at collecting a hodgepodge of ideas and making them work as a cohesive whole, as the voice of one hyper-intelligent, constantly frustrated commentator.
This is the Godard that fans would like to take to the grave: jaundiced, naughty, immediate, very much alive.
May not have aged any better than Godard's other films of the period, but that doesn't mean Paul and company don't continue to ask questions and spout the opinions of the newly enlightened.
Don't call it a 'classic.' This is a classic, but to use that word makes it sound like something good for you that's really bland or hard to swallow.
Jean-Luc Godard’s1966 masterpiece, Masculine-Feminine, is a must-see for all film lovers. Godard was the most brilliant and innovative French New Wave director.
Masculine, Feminine may not equal some of Godard's prior films but while it does revisit many of his usual themes it is noteworthy for being an intriguing dissection of where he, himself, fits into the picture.
This is take-no-prisoners cinema by an artist too honest to exempt himself from its scalding gaze.
There's a seductive immediacy to all this… despite the film's obvious satiric touches, you come away from it with a vivid impression of a time and place and the people who inhabited it.
To reappraise it after nearly 40 years only brings a richer appreciation of Godard's subtlety, sly humor and depth of perception, and his gift for melding nonchalance and profundity.
The kaleidoscopic film's meandering mirrors the uncertainty of that restless, tumultuous era.
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