Godard's Reverse Statements

Yesterday, Jonathan Rosenbaum, frustrated from immature and even idiotic reaction to Godard’s new film, Film Socialisme, wrote in his site:

“Most striking for me in the current fracas has been the exhuming of an offensive statement Godard made to the American press 40 years ago, expressing his hope that the three astronauts on Apollo 13 would die in outer space — a statement now used simply as a way of dismissing anything Godard might possibly do or say today. Having just recently seen Film Socialisme myself, without any subtitles and with only fitful comprehension of the dialogue, I was impressed not only by the film’s singularly fresh, daring, and often beautiful employments of sound and image, but also by its tenderness towards virtually all the contemporary characters and figures in the film (including the many animals) —a virtue I don’t find in the least bit present in For Ever Mozart. I guess it’s also worth noting that Film Socialisme tries to say something about the contemporary world, Europe in particular, an impertinence that isn’t shared by such harmless, good-natured fare as Inglourious Basterds. But none of the film’s tenderness towards its own characters can be said to be extended towards the preferences, habits, expectations, or overall well-being of the mainstream reviewers at Cannes — which I suppose makes everyone else potential members of a coterie of insiders.”

I remember in another occasion, a documentary about Slavoj Žižek, I saw a picture of comrade Stalin hanging on the wall of Zizek home’s entrance hall, “to insult visitors”. Though I don’t trust his exhibitionist philosophy, but I trust him, when later he tells to the interviewer that he has written more than anybody else about the horrors of Stalinism for humanity and democracy, and by hanging this picture, he’s just addressing something “reversely”. I don’t know the context of Godard’s unacceptable and foolish comment, but I’m sure all those critics who are using this against Godard are not aware of it, too. Let’s not forget the heritage – and sometime the courage – of this reverse statements in history of French culture and just remember the other outrageous statements which were expressed, only to provoke the listeners about the catastrophic consequences of giving up to the dominant ideology and media. When Louis Aragon, another French intellectual, expressed his hatred for French army, on the verge of a war, and said “I throw up on you, from head to the feet,” (needless to say, it caused a riot at the time) from his own view, he was addressing the disastrous situation with a surrealist attitude which is not very pleasant for those who have used to lies and sweet talk.

I’m not defending Godard, but I try to not forget his cultural background and what he has done for us with one of the most comprehensive body of works in 20th century. Unfortunately, in his reckless statement he has wished the death of astronauts, but in reality, and in his works, he has saved thousands.

--Ehsan Khoshbakht

Godard's Interview: When There Is No Silence

I am no more anguished to produce masterpieces

One of the best spots for understanding and getting acquainted with a director, beside long interviews in print, is the TV interviews, especially for those laconic filmmakers of the past. You can hear their words and examine them closely and see how the biggest Hitchcock film ever is Hitch himself or the greatest story teller among Hollywood giants is Walsh that turns every small situation to an interesting comedy/drama.

And among TV shows which usually are interested in the color of underwear of celebrities and “what-did- you-do- with-that-star sort of thing, Dick Cavett Show in the 1960s and 1970s was a decent place to discuss movies technically and also with a proper amount of charm!

I already have mentioned an episode of Cavett Show with Hitchcock and now this excellent episode, a 1980 interview with Godard, which hasn’t been released on DVD so far.

The time is right. When after a decade of politixperimental filmwriting/essaymaking, Godard had a more commercial “comeback” (Godard despises the word and says “I haven’t been anywhere”) with Sauve qui peut.

Here he is so calm and mild; carrying a cheap yellow cigarette lighter that Cavett couldn’t take his eyes of it. He barely smiles or responds to audiences now and then applauses, especially when he says “women have better ideas then men” [I’m completely agree with this part, at least in my country, Iran, women seems more advance, liberal and ready to change than the rusted male community]. He is more compassionate than his press conferences. (I remember in one of those press conferences he called a cameraman who was taking a close up of him, “a criminal” – probably in the special features of Histoire(s) du cinema DVD)

Cavett is an above-average talk-show host that his gentle ways of communicating with the guests makes him acceptable, even for the intransigent characters like Godard or Bergman. Though he can’t unveil the truth behind an interviewee, but by giving him or her enough space, he cooperates in at least having an honest discussion, and I believe even Godard appreciates his method.

Naturally most of the time Cavett is so puzzled by Godard’s views and the way he gives an account of things; not only from technical point of view, but from such general concepts like camera and space (after all Cavett himself spent a lifetime in front of cameras!) And he becomes stunned by Godard’s comment that “I think the problem with interviews is we feel obliged to speak, there is no silence.” And later he adds, “Even making a pornographic picture needs two or three weeks of preparation, but here on TV it takes 30 minutes to produce 30 minutes.”

Cavett, so puzzled

There are other very precise and remarkable comments about the media, like “the entire world is afraid of images. Ask any president why he is willing to go to TV and not willing to be in a feature, whether playing a character or whether playing himself. He replies himself, “maybe the answer is related to the fact that movies are strongly tied to our feeling for truth.”

When Cavett shows a clip of his recent film, Sauve qui peut, Godard starts criticizing his own method and declares his dissatisfaction with a famous slow-motion love making scene. He concludes “It’s like a Sylvester Stallone movie; using a gimmick like slow-motion both for sentimentality and violence.”

Godard brings out his tiny red and green scripts from his pocket. "Who said I have no scripts?"

Godard’s most interesting remark arrives in answer to a question about discovering American directors by Cahier du cinema:
“When we said Hitchcock is like Dostoyevsky or Hawks is as great as Faulkner, that was because we wanted to open doors for ourselves too. We wanted to make films and we need an 'exterior' help, we needed to be recognized, so we must convince others that director is the name above everything.”

He attacks use of black & white photography in Woody Allen’s Manhattan, but praises Scorsese’s job at The Raging Bull (he must have saw the film in editing room or a private screening, because interview time is before official release of the film)

Cavett brings up the story of Godard’s filmmaking without having any script, and Godard replies “I have scripts”, he brings out of his pocket two tiny notebooks and give them to Cavett as his two next projects!

--Ehsan Khoshbakht

P. S.

I couldn’t resist on not-mentioning some other memorable Godard’s remarks at the Cavett Show:

• “There is no difference between image and sound. You must listen to the image and look at the sound.”
• “Audiences have a responsibility in making the movie.”
• “It’s a good sign when good people go in exile from their own country.”
• “I am no more anguished to produce masterpieces. I’ve returned to my childhood, but not from the front door, maybe from backdoor or even from the window of the second floor.”