Made in U.S.A. (1966)



Critic Consensus: No consensus yet.

Made in U.S.A. Photos

Movie Info

A young woman finds herself caught up in murder and a Cold War conspiracy.
Art House & International , Drama , Mystery & Suspense
Directed By:
In Theaters:


Anna Karina
as Paula Nelson
Jean-Pierre Léaud
as Donald Siegel
Laszlo Szabo
as Richard Widmark
Kyoko Kosaka
as Doris Mizoguchi
Claude Bakka
as Man with Marianne Faithful
Jean-Pierre Biesse
as Richard M. Nixon
Charles Bitsch
as Taxi Driver
Jean-Claude Bouillon
as Inspector Aldrich
Remo Forlani
as Workman in Bar
Philippe Labro
as Himself
Rita Maiden
as Woman Who Gives Paula Information
Alexis Poliakoff
as Man with Notebook and Red Telephone
Yves Afonso
as David Goodis
Jean-Luc Godard
as Richard Politzer's Shadow and His Recorder Voice
Ernest Menzer
as Edgar Typhus
Show More Cast

Critic Reviews for Made in U.S.A.

All Critics (18) | Top Critics (5)

Gorgeous, minor, and pivotal.

Full Review… | February 19, 2009
Boston Globe
Top Critic

In terms of Godard's body of work, the 1966 film is as challenging as it is important.

Full Review… | January 16, 2009
Los Angeles Times
Top Critic

If Made in U.S.A doesn't merit a place, with Weekend and Band of Outsiders, on the Godard's Greatest Hits compilation, it is still a great lost B side.

Full Review… | January 9, 2009
New York Times
Top Critic

Jean-Luc Godard's Made in U.S.A. is not the celluloid holy grail, but it's close enough.

Full Review… | January 6, 2009
Village Voice
Top Critic

The film takes the premise for an interesting 15 minute short, and tries to turn it into a 90 minute feature, and stretch marks are evident in almost every scene

Full Review… | August 20, 2011

This is Godard redefining image in his uniquely cheeky spontaneous pop art style.

Full Review… | July 6, 2011
Ozus' World Movie Reviews

Audience Reviews for Made in U.S.A.

Toward the beginning of this film, I thought, "Wow: Godard hasn't completely eschewed the idea of using a plot to reveal characters through action and make their decisions reflect whatever political/philosophical point he wants to share." Then, that fucking radio voice spouting socialist propaganda appeared again, and I almost hurled my remote control through the television. But I didn't, dear friends. No, my television remains unfettered by a remote control sticking through its screen. What did I really do when Godard reverted to using his radio voice? I slumped in my chair. I played Blackjack on my iPhone. I waited for it all to be over - like a root canal or a conversation with my grandmother. On a gem-within-a-pile-of-shit/looking-on-the-bright-side note, I liked the subtle post-structuralism here: the characters frequently refer to the fact that they're in a film, and some of the landmarks are named after famous film directors. This is how I think post-structuralism is effective. The mystery plot, which I suspected might dominate the film's action, is almost unintelligible. I normally try to guess the culprit, but even at the end I didn't know who did it. The main problem with the film is that by that point I didn't care. I'm just happy I got blackjack.

Jim Hunter
Jim Hunter

Super Reviewer

I've loved some other '60s Godard films, but this one disappointed me. Supposedly an arch remake of "The Big Sleep," "Made in U.S.A." had its "U.S.A." release delayed for decades due to the story rights not being properly cleared. But you'll have to do some brainwork to assemble a plot from this erratic collection of scenes. The film appears to have been shot very quickly and cheaply, and the actors just perfunctorily rattle through their lines as if they're in a hurry to get to the next location. Typically for Godard, there are frequent disruptions of cinematic reality, as characters have names taken from movie history (Ruby Gentry, Donald Siegel, Richard Widmark) and sometimes speak directly into the camera. Music lovers won't want to miss a bar scene about 20 minutes into the action, where a young, ethereal Marianne Faithfull croons "As Tears Go By" a capella. Not onstage -- just casually sitting in a corner booth.

Eric Broome
Eric Broome

Super Reviewer

godards noir-comedy is solid but not without its problems. the film lacks the engaging dialogue that i expect from a godard film, and despite its short running time the film wastes a lot of time on silliness that makes for barely enough time to develop the mystery, which was underdeveloped severely. the characters were interesting enough and the quirkiness of the film kept me drawn in, but the film is only slightly above average and fairly forgettable.

danny d
danny d

Super Reviewer

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