Jean-Luc Godard was 84 when he made "Goodbye to Language". It shared the Jury prize at Cannes with 25 year old Xavier Dolan's "Mommy". Age is no barrier when it comes to making movies, right? Easy to be innovative at any age, right; be that Dolan's mucking about with the size of the screen or 84 year old Godard's abandonment of narrative altogether. Neither film is likely to please all of the pundits although Godard's did come runner-up in Sight and Sound's poll of the best films of the year. Of course, it isn't just language that Godard is saying goodbye to here; by choosing to make his film in 3D it's as if he has decided to turn his back on 'conventional' film-making. It's not that we haven't been here before; the old codger has been subverting film language for decades.
Since 'discovering' politics in the late sixties Godard has been dispensing with traditional narrative in film after film. If this is less political and even more abstract than we have come to expect it is no less infuriating though, for reasons I can't quite explain, it is also very watchable. That, of course, may have a lot to do with the look of the picture rather than the sound of it. Visually it is extraordinarily beautiful even if it makes no real sense, (perhaps you might pick up on his themes after several viewings).
There are no real 'characters' as such though a man, a woman, (both frequently naked; even at 84 Godard likes his pound of flesh), and a dog appear frequently though it is sometimes hard to know who is actually speaking, not that it matters. This picture isn't called "Goodbye to Language" for nothing. Words are both profound and superfluous while the film itself feels like something we could just as easily have done without. That's not by way of criticism but is rather more a statement of fact that, I'm sure, Godard might endorse. I'm glad I've seen it and I'm glad the old reprobate is still flying in the face of fashion. No-one else could have made it and surely that is Godard's gift as well as his legacy.
Since 'discovering' politics in the late sixties Godard has been dispensing with traditional narrative in film after film. If this is less political and even more abstract than we have come to expect it is no less infuriating though, for reasons I can't quite explain, it is also very watchable. That, of course, may have a lot to do with the look of the picture rather than the sound of it. Visually it is extraordinarily beautiful even if it makes no real sense, (perhaps you might pick up on his themes after several viewings).
There are no real 'characters' as such though a man, a woman, (both frequently naked; even at 84 Godard likes his pound of flesh), and a dog appear frequently though it is sometimes hard to know who is actually speaking, not that it matters. This picture isn't called "Goodbye to Language" for nothing. Words are both profound and superfluous while the film itself feels like something we could just as easily have done without. That's not by way of criticism but is rather more a statement of fact that, I'm sure, Godard might endorse. I'm glad I've seen it and I'm glad the old reprobate is still flying in the face of fashion. No-one else could have made it and surely that is Godard's gift as well as his legacy.