Cinema's original enfant terrible, Jean-Luc Godard was one of the leaders of the French New Wave, a key influence on American cinema of the 1970s and one of the few true auteurs still making movies. A maverick force from the beginning, when his debut film Breathless (1959) tore up the cinematic rulebook, Godard has continued to inspire and challenge moviegoers throughout a career that spans more than four decades. This essential collection contains Breathless, Une Femme est une Femme, Le Mépris, Alphaville and Pierrot Le Fou all presented in this stunning box-set. Extras: Breathless Introduction by Colin MacCabe Godard, Made in USA Room 12. Hotel de suede Jean-Luc according to Luc Jefferson Hack Interview Tempo Godard Episode Jean Seberg Featurette Trailer Posters Une femme est une femme Introduction by Colin MacCabe Interview with Anna Karina Posters Photo Gallery Le Mépris Introduction by Colin MacCabe Once Upon A Time There Was...Contempt Contempt...tenderly The Dinosaurs and the Baby Conversation with Fritz Lang Trailer Alphaville Introduction by Colin MacCabe Interview with Anna Karina Posters Trailer Pierrot le fou Introduction by Colin MacCabe Interview with Anna Karina Godard, Love and Poetry Film Analysis by Jean-Bernard Pouy Trailer German TV advert Posters
Gleefully putting into practice D W Griffith's maxim that all you need to make a film is a girl and a gun, Bande à part (The Outsiders) is Godard's playful tribute to the Hollywood pulp crime movies of the 1940s, executed with typically Gallic cool. Franz and Arthur, a couple of streetwise chancers, team up with the shy Odile (a beguiling performance from Anna Karina, Godard's wife and muse at the time) to plan a robbery. As the trio of misfits roam the cafes of suburban Paris, do a lightning tour of the Louvre, and play-act shoot-outs, the suspicion grows that this is one heist that is not going to go according to plan. As well as superb photography by Raoul Coutard and music by Michel Legrand, Bande à part features one of the most exhilarating dance sequences in film, which so impressed Quentin Tarantino that he paid homage to it with John Travolta and Uma Thurman in Pulp Fiction, and named his production company, Band Apart, after the film. Shot in just 25 days, Bande à part was greeted with puzzlement and even distaste when first released. Over the years it has become one of Godard admirers' favourite films and is one that no French film collection should be without.
Made In USA
'Bande A Part' is Jean-Luc Godard's playful tribute to the Hollywood pulp crime movies of the 1940s executed with typically Gallic cool. Franz and Arthur a couple of streetwise characters team up with the shy Odile (Anna Karina) to plan a robbery. As the trio of misfits does a lightning tour of the Louvre roams the cafes of suburban Paris and play-acts shoot-outs the suspicion grows that this is one heist that is not going to go according to plan...
Pierro escapes his boring society and travels from Paris to the Mediterian Sea with Marianne a girl who is chased by hit-men from Algeria. They lead a unortodox live always on the run.
A cockeyed fusion of science fiction pulp characters and surrealist poetry Jean-Luc Godard's irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution on a mission to kill the inventor of fascist computer Alpha 60.
1760s France. Suzanne is shocked when her bourgeois family sends her to a convent. There she faces oppression and torment, leading her to fight back and expose the dehumanizing effect of cloistered life.
To say that Jean-Luc Godard's fourth feature, Vivre sa vie (1962), is about a young Parisian woman who drifts into prostitution would be roughly as useful as saying that Taxi Driver is about the problems facing the Manhattan transportation system. It's true that Godard did, in the 60s, seem to have a bee in his bonnet about the oldest profession, and it went on to buzz ever more angrily the more he cuddled up to the doctrines of Marx, who instructed him that under late capitalism we are all prostitutes. It's also true that one section of Vivre sa vie, which is divided up into a dozen tableaux, offers a bland, documentary-style account of the French sex industry that could have been made for a news and current affairs slot. Even so, it's clear--especially four decades on--that whoredom is only one of the many topics on Godard's hyperactive brain. The scenes which you take away from the film aren't the sexy bits (which are few, and almost glacially offhand) but the exasperating, perverse or anguished bits: Nana, the heroine (Anna Karina) alone in a cinema, silently weeping at and for the silent vision of Maria Falconetti in Carl Dreyer's La Passion de Jeanne d'Arc; Nana in a pool hall, improvising an artlessly peppy dance routine; Nana in a café, endlessly talking Plato, Hegel and Kant with the grizzled, real-life philosopher Brice Parain. In short, the truest subject of Vivre sa vie--and it is a rich one--is nothing other than its star, Anna Karina, the piercingly beautiful model who had married her director just a year before, and who obviously inspired him to perplexity, rapture and despair. Technically, the film is insouciant to the point of arrogance--Godard constantly fiddles around with the soundtrack, the camera movements and framing as if all the usual rules of cinema were a pair of itchy underpants--and yet the film aches with melancholy. It's unlikely that the video will make many new converts, but for those willing to pay the price of admission to Godard's world (and the price includes boredom), the reward is one of the strangest and most troubling love letters in the history of cinema--apart from Godard's half-dozen other films about his wife, that is. --Kevin Jackson
Angela a striptease artist wants to have a baby and tries to persuade her boyfriend Emile to go along with the idea. Emile will have none of it so she goes after Emile's friend Alfred.
Starring Bob Monkhouse Alfred Marks Hattie Jacques and many key comedy supporting actors from the 1960s She’ll Have to Go is a stylish hugely enjoyable farce co-produced by BAFTA-nominated Hammer Films stalwart Jack Asher. Released in the US as Maid for Murder it is presented here in a brand-new transfer from the original film elements in its as-exhibited theatrical aspect ratio. When Francis and Douglas Oberon learn that their late grandmother has bequeathed the family fortune to distant cousin Toni they immediately start plotting to get their hands on the money. They dream up a plot whereby they cannot fail to acquire a comfortable future; the lovely Toni must either be murdered or married... Bonus Features: Original Theatrical Trailer Image Gallery Original Pressbook PDF
To say that Jean-Luc Godard's fourth feature, Vivre sa vie (1962), is about a young Parisian woman who drifts into prostitution would be roughly as useful as saying that Taxi Driver is about the problems facing the Manhattan transportation system. It's true that Godard did, in the 60s, seem to have a bee in his bonnet about the oldest profession, and it went on to buzz ever more angrily the more he cuddled up to the doctrines of Marx, who instructed him that under late capitalism we are all prostitutes. It's also true that one section of Vivre sa vie, which is divided up into a dozen tableaux, offers a bland, documentary-style account of the French sex industry that could have been made for a news and current affairs slot. Even so, it's clear--especially four decades on--that whoredom is only one of the many topics on Godard's hyperactive brain. The scenes which you take away from the film aren't the sexy bits (which are few, and almost glacially offhand) but the exasperating, perverse or anguished bits: Nana, the heroine (Anna Karina) alone in a cinema, silently weeping at and for the silent vision of Maria Falconetti in Carl Dreyer's La Passion de Jeanne d'Arc; Nana in a pool hall, improvising an artlessly peppy dance routine; Nana in a café, endlessly talking Plato, Hegel and Kant with the grizzled, real-life philosopher Brice Parain. In short, the truest subject of Vivre sa vie--and it is a rich one--is nothing other than its star, Anna Karina, the piercingly beautiful model who had married her director just a year before, and who obviously inspired him to perplexity, rapture and despair. Technically, the film is insouciant to the point of arrogance--Godard constantly fiddles around with the soundtrack, the camera movements and framing as if all the usual rules of cinema were a pair of itchy underpants--and yet the film aches with melancholy. It's unlikely that the video will make many new converts, but for those willing to pay the price of admission to Godard's world (and the price includes boredom), the reward is one of the strangest and most troubling love letters in the history of cinema--apart from Godard's half-dozen other films about his wife, that is. --Kevin Jackson
1760s France. Suzanne is shocked when her bourgeois family sends her to a convent. There she faces oppression and torment, leading her to fight back and expose the dehumanizing effect of cloistered life.
Few filmmakers have enjoyed a decade quite so diverse or quite so prolific as Rainer Werner Fassbinder did during the seventies. Amid the likes of The Bitter Tears of Petra von Kant and Fear Eats the Soul, it's easy to forget some of the lesser-known and more singular works, two of which are presented here. Fox and His Friends is among the director's most personal works and the first to tackle homosexuality in a direct manner. Fassbinder himself plays Fox, a sweet working class soul whose relationship with wealthy industrialist Eugen, he discovers, is based almost wholly on his unexpected lottery win. When his money runs out, so does any affection, with tragic consequences. Chinese Roulette, set in an isolated house during a weekend break, is like Agatha Christie's And Then There Were None without the murders a tense psychodrama in which infidelities are revealed and families breakdown. At its centre is nouvelle vague icon Anna Karina, a rare outsider alongside the familiar Fassbinder faces.
Based on Lionel White's novel 'Obsession' Pierrot Le Fou /i> is the story of a bored husband who runs away from Paris to the South of France with an unpredictable but beguiling young babysitter (Anna Karina) after a corpse is found in her flat. After an idyllic time at the seaside they hit the road once more and get by from stealing soon becoming embroiled in the machinations of two rival gun running gangs and a man who may or may not be the girl's brother. Belmondo was nominated for a BAFTA for his perfomance in this tragic tale of a romantic couple who cannot escape fate no matter how far they flee.
Includes the classic Nouvelle Vague (New Wave) Godard films Alphaville Une Femme Est Une Femme and Le Petite Soldat. A Bout De Souffle La Chinoise and Made In The USA. Alphaville: Agent Lemmy Caution (Eddie Constantine) arrives in the futuristic city of Alphaville to find out the fate of his predecessor only to discover a beautiful scientist's daughter amid a culture where self-expression is outlawed and computer Alpha60 runs the city... Une Femme Est Une Femme: A nightclub stripper who is anxious to have a baby with her boyfriend turns to his best friend when he refuses... Le Petite Soldat: Set during the Algerian War 'Le Petit Soldat' follows Bruno Forestier a disillusioned young deserter who becomes involved in the French nationalist movement. He is ordered to kill an Algerian sympathizer and although does not hold deep political beliefs commits the murder and undergoes torture when captured. At the same time he meets and falls in love with a women (Anna Karina in her film debut) who he does not know is fighting for the other side... A Bout De Souffle: Michel Poiccard (Jean-Paul Belmondo) an ex-airline steward turned hoodlum steals a car and heads to Paris. Discovering a gun in the car's glove department he uses it to shoot and kill a cop who tries to wave him down. He wants to escape to Italy with his American girlfriend Patricia (Jean Seberg) but the police are after him and he is distracted by all the pleasures Paris has to offer. La Chinoise: A group of Parisian students philosophise on how the activities of revolutionary China and the theories of Maoism could be applied to fracture Western society.... Made In The USA: Paula Nelson investigates the death of her lover in Atlantic City. She has Many encounters with gangsters...
Arriving in Egypt, Darley, a young Irish schoolmaster finds himself in the beautiful city of Alexandria, with massive houses, masked balls, extreme opulence, incredible poverty and adolescent prostitution. The society into which Darley naively enters is dominated by Justine (Anouk Aim e), an enchantingly beautiful Jew. Among Justine's numerous friends and lovers are Pursewarden (Dirk Bogarde), a British official obsessed with his blind sister, Liza; Narouz, Justine's fanatic brother-in-law; .
When psychology graduate Richard (Bowz) invites a group of friends to join him for a weekend to take part in a psychological experiment there is only one subject on the agenda: fear!
Stephanie Beacham Stephanie Cole Louise Jameson and Jean Anderson star as inmates of a gruelling Japanese prisoner-of-war camp during the second world war. It is 1941 and the terrors of war torn Europe seem a long way away for the small expatriate community living in Singapore. But their privileged lives are soon to be shattered when the Japanese Army launches a devastating surprise attack. This is the powerful story of women who are thrown together by the chaos of war. Fearing f
Contains three films by Jean Luc Godard: ALPHAVILLE UNE FEMME EST UNE FEMME and LE PETIT SOLDAT.ALPHAVILLE:With 1965's ALPHAVILLE--part sci-fi action film part noir thriller--the acclaimed French New Wave director Jean-Luc Godard achieves a stunningly clinical futurism using absolutely no special visual effects. The result is a moving original film that with its abstract political and intellectual themes essentially redefines the apocalyptic science fiction genre. ALPHAVILLE clearly the product of one of cinema's greatest contributors is nothing less than a bona fide cult classic.UNE FEMME EST UNE FEMME:Godard pays tribute to American musicals in much the same way that his debut feature A BOUT DE SOUFFLE did to American gangster films. The story follows the beautiful Angela (Anna Karina) a strip-tease artist who wants nothing more than to have a baby. Her live-in boyfriend Emile (Jean-Claude Brialy) doesn't want to refuse and risk sparking major friction between the two. However fed up with her constant pleading Emile finally suggests that she shack up with his best friend Alfred (Jean-Paul Belmondo) and much to Emile's dismay she eventually takes his advice. Godard's second feature employs jump cuts and jarring sound mixing--most notably during Karina's strip-tease performances. Godard is at his most affectionate and good-natured here. He also makes several cinematic in-jokes including one in which Belmondo's character mentions that he wants to hurry home to watch A BOUT DE SOUFFLE the film that turned Belmondo into a megastar just one year before. Featuring a magnetically cute performance from Karina who soon after the film became Godard's wife this loving romantic comedy is a dazzler.LE PETIT SOLDAT (1960):Michel Subor stars as Bruno a hitman under contract by the French government who suddenly develops a conscience and a philosophy when he is ordered to kill a left wing Arab leader. His newfound ideals are provoked by the stunning Veronica (Karina) a young woman who is secretly employed by the Arabs. The two fall in love and not surprisingly Bruno finds it impossible to carry out his mission bringing down the wrath of the French government on both he and Veronica. Beautifully filmed by Raoul Coutard LES PETIT SOLDAT is less interested in the mechanics of plot as it is in providing Godard a voice for thoughts and musings on the politics and horrors of the Algerian War. It was originally banned in France because of its frank depiction of torture during Algeria's war of Independence which was tearing France apart at the time of the film's completion.
It is 1941 and the terrors of war torn Europe seem a long way away for the small expatriate community living in Singapore. But their privileged lives are soon to be shattered when the Japanese Army launches a devastating surprise attack. Tenko is the powerful story of women who are thrown together by the chaos of war. Fearing for their lives they must learn how to survive the harsh conditions and even harsher regime of the Prisoner of War camp. This release features the second half o
Please wait. Loading...
This site uses cookies.
More details in our privacy policy