Reviews

  • Jun 22, 2021

    It's typical of Godard in the way that is self-explanatory, but it's also very unusual Godard as it is very serious and the characters and drama feel real (sometimes). What's sad is that where usually the low budget and the lack of means are compensated by Godard's brilliance, here, as it seems Godard restricted himself in the name of realism, they are very prominent.

    It's typical of Godard in the way that is self-explanatory, but it's also very unusual Godard as it is very serious and the characters and drama feel real (sometimes). What's sad is that where usually the low budget and the lack of means are compensated by Godard's brilliance, here, as it seems Godard restricted himself in the name of realism, they are very prominent.

  • Apr 07, 2021

    Godard slowly seeps the deep melancholy and deadly dread of a failed marriage into us while Brigitte Bardot helps him do so with effortless elegance and fragile authenticity; although I think Godard relies upon the satirical and intellectual aspects a little too much, and I didn't find the ending to be particularly interesting or satisfying, but I guess it doesn't really need to be for what it's trying to convey.

    Godard slowly seeps the deep melancholy and deadly dread of a failed marriage into us while Brigitte Bardot helps him do so with effortless elegance and fragile authenticity; although I think Godard relies upon the satirical and intellectual aspects a little too much, and I didn't find the ending to be particularly interesting or satisfying, but I guess it doesn't really need to be for what it's trying to convey.

  • Nov 29, 2020

    The commentary provided by The Criterion Collection beings nuance, explanation and appreciation for what woulld otherwise seem like a confusing disappointment to the uninitiated of Goddard's works

    The commentary provided by The Criterion Collection beings nuance, explanation and appreciation for what woulld otherwise seem like a confusing disappointment to the uninitiated of Goddard's works

  • Oct 04, 2020

    Critical acclaim be damned! It’s just a snooze-fest. As with most films about film-making, it is ponderous, pretentious, self-indulgent, slow, and predictable. I do not understand all of the reviews claiming it is Godard’s most personal and most emotional film. I found it cold and boring, and wanted Paul and Camille to drown by the end. I know Godard is important in the history of cinema, but he’s overrated and is given a pass on so many cliches and sloppy work. Capri looks nice in the film and it is not completely enraging, hence 1 1/2 stars.

    Critical acclaim be damned! It’s just a snooze-fest. As with most films about film-making, it is ponderous, pretentious, self-indulgent, slow, and predictable. I do not understand all of the reviews claiming it is Godard’s most personal and most emotional film. I found it cold and boring, and wanted Paul and Camille to drown by the end. I know Godard is important in the history of cinema, but he’s overrated and is given a pass on so many cliches and sloppy work. Capri looks nice in the film and it is not completely enraging, hence 1 1/2 stars.

  • Oct 04, 2020

    To me, Contempt's slow pace and plot focusing on a relationship in a tailspin is too reminiscent of Antonioni to be called wholly original, albeit with a greater focus on character and narrative rather than atmosphere. The color is innovative and the musical accompaniment is certainly well-designed (timed for narrative effect), but it feels like the story isn't as effective of a satire of the intellegentsia as it wishes to be, with its long speeches on artistic interpretation (and its incorporation of the real Fritz Lang) feeling rather sincere as opposed to subtly comedic (it wouldn't surprise me if those unfamiliar with the French New Wave would consider the rather self-loving view of art film as indicative of the pretentiousness of classic foreign films as a whole). The scene that draws the most critical interest, the apartment segment, is of a better standard than the majority of the film, with others feeling melodramatic rather than sincere; the climactic crash is handled rather poorly, someone clearly didn't want to sacrifice their car for the shot. Still, in the heavier scenes there is a production quality and creative vision (however flawed or lacking in originality) that brings the film above average. And hey, Brigitte Bardot. (3.5/5)

    To me, Contempt's slow pace and plot focusing on a relationship in a tailspin is too reminiscent of Antonioni to be called wholly original, albeit with a greater focus on character and narrative rather than atmosphere. The color is innovative and the musical accompaniment is certainly well-designed (timed for narrative effect), but it feels like the story isn't as effective of a satire of the intellegentsia as it wishes to be, with its long speeches on artistic interpretation (and its incorporation of the real Fritz Lang) feeling rather sincere as opposed to subtly comedic (it wouldn't surprise me if those unfamiliar with the French New Wave would consider the rather self-loving view of art film as indicative of the pretentiousness of classic foreign films as a whole). The scene that draws the most critical interest, the apartment segment, is of a better standard than the majority of the film, with others feeling melodramatic rather than sincere; the climactic crash is handled rather poorly, someone clearly didn't want to sacrifice their car for the shot. Still, in the heavier scenes there is a production quality and creative vision (however flawed or lacking in originality) that brings the film above average. And hey, Brigitte Bardot. (3.5/5)

  • Aug 04, 2020

    Not my favorite Godard film. Too many long shots and fruitless scenes left me trying to stay awake to this snooze-fest

    Not my favorite Godard film. Too many long shots and fruitless scenes left me trying to stay awake to this snooze-fest

  • May 06, 2020

    As long as there have been movies there have been movies about movies and Contempt…is one of them. Jean Luc Godard's Contempt is an intriguing experiment in meta-cinematic filmmaking. It often strikes similar notes as Billy Wilder's Sunset Boulevard with it's critical analysis of the inspiration process in cinema and the ideals of the film industry itself. Just watching legendary avant-garde director Fritz Lang play himself in an innovative film of a new generation is intriguing enough on its own, but Jean Luc Godard also adds plenty of his own flare to every moment. His trailblazing style and use of bold color hues is evident throughout. However, the film seems to hit a brick wall with its abrupt ending that was probably intentional and meant for shock value but I think it ends on a low note. The film seems to lose sight its early intention of breaking down the cinematic prosses when it gets sidetracked into becoming a marital drama. Some of the films complex philosophical musings are there just for show as Godard purposefully tries seem radical by contradicting his own project. As Jack Palance's character says "A wise man does not oppress others with his superiority". ——————Overall: Contempt is a curious creation that is able to stand out from the huge field of movie-on-movie films thanks to some interesting food for thought from Jean Luc Godard. —————–Highlight: The almost Deadpool like opening credits seem way ahead of their time and are riveting to see/hear.

    As long as there have been movies there have been movies about movies and Contempt…is one of them. Jean Luc Godard's Contempt is an intriguing experiment in meta-cinematic filmmaking. It often strikes similar notes as Billy Wilder's Sunset Boulevard with it's critical analysis of the inspiration process in cinema and the ideals of the film industry itself. Just watching legendary avant-garde director Fritz Lang play himself in an innovative film of a new generation is intriguing enough on its own, but Jean Luc Godard also adds plenty of his own flare to every moment. His trailblazing style and use of bold color hues is evident throughout. However, the film seems to hit a brick wall with its abrupt ending that was probably intentional and meant for shock value but I think it ends on a low note. The film seems to lose sight its early intention of breaking down the cinematic prosses when it gets sidetracked into becoming a marital drama. Some of the films complex philosophical musings are there just for show as Godard purposefully tries seem radical by contradicting his own project. As Jack Palance's character says "A wise man does not oppress others with his superiority". ——————Overall: Contempt is a curious creation that is able to stand out from the huge field of movie-on-movie films thanks to some interesting food for thought from Jean Luc Godard. —————–Highlight: The almost Deadpool like opening credits seem way ahead of their time and are riveting to see/hear.

  • May 06, 2020

    Pure cinema; a movie made as a real movie should be made.

    Pure cinema; a movie made as a real movie should be made.

  • Jun 19, 2019

    A bad movie--way too esoteric to make any sense. Bardot's overly sexualized personna gets in the way. I never related to any of the characters in any way, There was no emotional content, and the musical score seemed tacked on without connecting to any scene. BAD. the only redeeming feature is the photography.

    A bad movie--way too esoteric to make any sense. Bardot's overly sexualized personna gets in the way. I never related to any of the characters in any way, There was no emotional content, and the musical score seemed tacked on without connecting to any scene. BAD. the only redeeming feature is the photography.

  • Apr 29, 2019

    "Contempt" is a meta film (a film about itself) that the director clearly didn't want to make, Jean Luc Godard's "Freddy Got Fingered" in a sense. As the title suggests, the theme of the film is contempt, a woman comes to hate her husband, but it also seems to be about Godard's contempt for movie producers and the industry. Michel Piccoli and Brigite Bardot are perfectly cast, and the extended argument in the middle of the movie between them is masterful and captivating. Jack Palance, on the other hand, seems self-conscious and unconvincing. I found the movie at its best during the character study of Bardot and Piccoli's relationship. It is clear to anyone with a shred of emotional intelligence what Palance's motivations are, and why Bardot comes to despise her husband, but her husband is too weak and neurotic to understand something so simple. Watching him trip over himself throughout the film is what elevates this above a snooty meta film.

    "Contempt" is a meta film (a film about itself) that the director clearly didn't want to make, Jean Luc Godard's "Freddy Got Fingered" in a sense. As the title suggests, the theme of the film is contempt, a woman comes to hate her husband, but it also seems to be about Godard's contempt for movie producers and the industry. Michel Piccoli and Brigite Bardot are perfectly cast, and the extended argument in the middle of the movie between them is masterful and captivating. Jack Palance, on the other hand, seems self-conscious and unconvincing. I found the movie at its best during the character study of Bardot and Piccoli's relationship. It is clear to anyone with a shred of emotional intelligence what Palance's motivations are, and why Bardot comes to despise her husband, but her husband is too weak and neurotic to understand something so simple. Watching him trip over himself throughout the film is what elevates this above a snooty meta film.