Tout va bien1973
Tout va bien (1973)
Tout va bien Photos
as Him, Jacques
as Her, Suzanne
as Leftist Woman
as Communist Party Representative
as Second CGT Delegate
Critic Reviews for Tout va bien
A little simplistic at times but acidly funny, with Godard's genius for the arresting image once more well to the fore.
One of Godard's angriest satires, but insofar as she is clearly used for her polarizing social freight, Fonda comes off today as its co-creator.
It's only a slight step back from Godard's hard-core political tracts, but the few concessions he does make--characters and a story, of sorts -- go a long way toward making the rhetoric accessible.
It's the kind of in-your-face political film about the class struggle where the indiscriminate viewer might feel guilty munching on popcorn.
A noble effort to bring anti-bourgeois cinema to the masses; needless to say, the masses stayed home.
Audience Reviews for Tout va bien
Nothing better exemplifies the political tension and ardent socio-economic climates of the French political sphere than a seventies Godard film starring Jane Fonda. "Tout Va Bien" is a film that delves into the rebel assumptions of the latest French generation, and works in "revolutionary art". The film concerns the revolt of a factory, the discipline of the structures of mainstream film, and began Godard's credibility as a mainstream artist. This film deals with two separate story arcs, and two separate issues. One is the revolutionist stance of the people, and fighting the powers that be in large and caustic ways. In the course of the film several characters are interviewed by Fonda's character, who is an American journalist. They speak about the variance of their involvement in a strike on a sausage factory, where Fonda and Yves Montand (portrayed as an at-odds married couple) are being held against their will, along with the plant manager. The plant revolt is the biggest part of the film, and lent to the famous multiple room shot in the factory, which showed the plant manager's office as well as the outside offices of the rest of the employees. The other part of the plot deals with Fonda and Montand (named She and He in the film) and their fragmented marriage. Both of them have deep psychological wanderings and speak to each other about the state of their lives. Particularly, Montand yearns to be back making French New Wave films, as he had done in the sixties, though he now makes commercials. Montand finds his new pursuit pointless and wishes to be back in the fray of artistic freedom, mostly because he sees himself now as a sellout. Spurred by the witnessing of the revolt and his own crumbling marriage, Montand watches as rebellion reaches the streets of France's metropolis' and we the audience watch as leftist views launch riots, and start a conversation long abated, and speaks on small changes you can make in your own life. It wasn't a revolutionary film by any means, but it led to skepticism from the masses and became a conversation starter.
Godard seems angry (lol).
[font=Century Gothic]"Tout Va Bien" starts with director Jean-Luc Godard initialing checks and complaining about having to cast two stars in his latest film in order to get financing.(Nothing new there. That's been true of him since Event One.) The two stars are Jane Fonda and Yves Montand who play respectively an American reporter and a commercial director(in other words, a skanky whore) who are married and get involved with a strike/hostage crisis at a factory. During that time, Godard ignores them for long stretches of time in order to focus on the workers' conflict, bemoaning the fact that nothing of real substance changed in the four years since the upheavals of May 1968. After that, it's back to the unhappy couple...[/font] [font=Century Gothic][/font] [font=Century Gothic]"Tout Va Bien" basically feels like somebody took a message movie and evolved it to a point where there is only message, no story or characters to speak of. In fact, one could almost say this might be an attempted parody if Jean-Luc Godard had a sense of humor. Instead, he is just bitter that there was no cultural revolution in France in 1968. And he cannot hold a candle to Peter Watkins, especially with what he accomplished with "Paris Commune, 1871."[/font]
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