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PostPosted: Tue May 03, 2016 9:27 am 
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Michel Hazanavicius’s new project Redoubtable revolving around the relationship between Jean-Luc Godard and actress Anne Wiazemsky in the late 1960s.


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PostPosted: Tue May 03, 2016 1:31 pm 
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Louis Garrel has such a punchable face, I'm not sure if that means this is great casting or not


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PostPosted: Tue May 03, 2016 1:36 pm 
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JLG biopic? Vomit.


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PostPosted: Tue May 03, 2016 1:41 pm 
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Shout out to my iPhone for suggesting the correct spelling of Hazanavicius' name


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PostPosted: Tue May 03, 2016 1:42 pm 
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domino harvey wrote:
Louis Garrel has such a punchable face, I'm not sure if that means this is great casting or not

Ah I like him, though I'll admit he looks and acts a lot like Jesse Eisenberg who gets the same thing.


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PostPosted: Tue May 03, 2016 4:42 pm 
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I guess I should say, most of my reaction to this project comes from who's directing it and the assumptions I'm making about how that material will be handled. I'm envisioning something simultaneously hagiographic (in the sense that everyone understands it's 'correct' to revere Godard's 60's output with Karina) and unflattering (if the film is interested in the nitty-gritty aspects of their relationship breaking down). I envision very little genuine engagement with Godard's philosophies about the image and cinema. Not to say I don't expect cutesy homages to things like jump-cuts, bold primary colors, text on-screen, whatever other stylistic tics they can appropriate.

If it was, say, Bertrand Bonello doing it instead, I'd be excited. I just think this is going to be painful to watch for those who appreciate him as a filmmaker and thinker who didn't die in a motorcycle accident in '68 or whatever.


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PostPosted: Tue May 03, 2016 5:12 pm 
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It's not like this was ever going to be a good idea anyways, might as well have some fun with it. Too bad Berenice Bejo's not in it. Maybe she could play Leaud


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PostPosted: Tue May 03, 2016 6:10 pm 
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I really don't see why this should have to engage with Godard as a filmmaker. It's a bitter romance for a very popular public figure. That alone could make an okay film and I don't need anything else from Hazanavicius.


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PostPosted: Tue May 03, 2016 9:09 pm 
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It's actually worse than I imagined - it sounds like it's going to play Godard's radicalization in the wake of May '68 for yucks. But yeah, not for me, so whatevs.


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PostPosted: Tue May 03, 2016 11:55 pm 
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It would be great if Hazanavicius asked Michel Legrand to score this, given that Legrand scored many actual 1960s Godard films and is still scoring movies today.


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PostPosted: Wed May 04, 2016 12:13 am 
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Speaking of Hazanavicius, what's happening with his film The Search? It opened at Cannes 2 years ago and has received a release in most every major market, but still not the US. It's an odd thing for a director who was following up his big Oscar-winning movie.


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PostPosted: Mon Feb 20, 2017 10:39 pm 
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According to IMDB, Jean-Pierre Mocky will be appearing in this, so there's at least one New Wave figure who will make a cameo. Also, Berenice Bejo is listed in the cast in an unknown role, what do you wanna bet she's Anna Karina?


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PostPosted: Sun May 07, 2017 1:52 pm 
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Teaser-- not bad, but they couldn't even get the font right. Garrel's Godard looks much worse in action in the unsubbed French teaser, though


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PostPosted: Sun May 07, 2017 2:17 pm 
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Can't believe this is the guy that was given an Oscar over Scorsese, Malick, Woody Allen AND Alexander Payne in one year...


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PostPosted: Sun May 07, 2017 2:27 pm 
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Well, his film was better than all of their films


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PostPosted: Sun May 07, 2017 4:30 pm 

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No it wasn't. I enjoyed The Artist but it's forgettable


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PostPosted: Sun May 07, 2017 4:38 pm 
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Prove that it wasn't.


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PostPosted: Sun May 07, 2017 5:29 pm 
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domino harvey wrote:
Also, Berenice Bejo is listed in the cast in an unknown role, what do you wanna bet she's Anna Karina?

IMDB says she's playing Michele Rosier, the fashion designer turned filmmaker who directed Wiazemsky in George qui?


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PostPosted: Sun May 07, 2017 6:21 pm 

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knives wrote:
Prove that it wasn't.
Not sure why dda's "No, it wasn't" deserves a retort but dh's "Yes, it was", directly above it, slides by sans comment. If either can escape our otherwise exacting standards of proof - presumably because we take it to be a dressed up statement of preference - then surely both can, no?

Anyway, I'm with oedipax. I'll probably watch the movie - if it's not playing against the Denis or whatever - and hope for the best, but I fear an un-godardian mishmash of cutesy and earnest.


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PostPosted: Sun May 07, 2017 6:29 pm 
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I have defended the Artist in its thread and elsewhere many times. I'm pretty sure I've also weighed in on all of the other films floated as superior in their direction in their respective threads along with the 2011 Best Picture round-up


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PostPosted: Sun May 07, 2017 6:57 pm 

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domino harvey wrote:
I have defended the Artist in its thread and elsewhere many times
Well, I understand that you may prefer The Artist to, for example, Tree of Life - I don't - but your dismissal of the Malick - which I don't particularly want to defend but which I, like many, found more engaging visually and emotionally than the Hazanavicius - as an extend life insurance commercial does prove one is better than the other, of course. If knives' "Prove it wasn't" was just a chummy invitation to dda to generate a counterargument to your defense of a film which he is supposed to have remembered from another thread, I apologize for misreading its tone.


Last edited by yoshimori on Sun May 07, 2017 7:01 pm, edited 1 time in total.

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PostPosted: Sun May 07, 2017 7:00 pm 
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The point is that it is misguided to take offense that my comment was allowed to pass unremarked but another's wasn't, since I've posted several times on the forum about this. If DDA wants to match my flippancy with his own, I don't really care and I'm not the one who objected in the first place, but I'm not speaking out for the first time in favor of the Artist


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PostPosted: Mon May 08, 2017 4:05 am 

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I'll try but I've seen it once back then. It a decent film, I wasn't saying it wasn't, but first of all as I said it was forgettable and lodged no place in my head a week after I watched. Dujardin and Bejo are wonderful, and I fully support him winning best actor for both a physical performance but also how much he expresses everything using his face and body (which in silent cinema is of course a must, but still).
So I'm not coming from an opposite stance, but it just doesn't hold up. There is no sequence in the film that can rival the true greats of yore, and Sunset Blvd. did the exact same storyline but far more viciously and realistically.
Hugo, which I don't care for as book form (which hindered it's adaption as well), is still a much more vibrant ode to cinema and its silent days. Scorsese use of 3D is one of the better uses of the medium, and the second half of the film is truly great.
And Tree of Life is a masterpiece for me, the last great Malick for me.


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PostPosted: Sat May 20, 2017 1:48 pm 
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While I thought this would bomb, I didn't mean literally

Guardian interview with Hazanavicius


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PostPosted: Sat May 20, 2017 4:38 pm 
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Looks like we may be in best case scenario territory here, folks. Early critical responses are positive but not effusive, say it's pretty cruel towards Godard (which is fitting given his demeanor in this period / all periods) but deftly so, and apparently quite funny


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