Le Mepris (Contempt) – Jean-Luc Godard (1963)

Contempt is one of the most highly regarded movies that Jean-Luc Godard has directed and not only is it both indicative of his classic Godard authorship, it is audacious and ambitious in his build-up of tension and use of dramatic proportionality. Moreover, it stars two icons of cinema, the legendary actress Brigitte Bardot who plays the teasing wife of a screenwriter. It also stars an iconic director, none other than Fritz Lang who plays himself directing a screen interpretation of Homer’s ‘The Odyssey’. Having known this much information about the film, it was guaranteed to be an enticing watch that far from fell short of expectation. Among the classical ‘Godardian’ inferences and metaphors from literature and cinema alike, there is a desire to create an almost ‘Hitchcockian’ sense of tension and drama in the possibilities of what might happen and what might have happened.  This attempt is best seen through Godard’s use of music as well as the classic slow-zooming camerawork during an intense monologue or scene that is similar to such.

“Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let his wife drive with Prokosch and he is late, she believes, he uses her as a sort of present for Prokosch to receive a better payment. As a result, underlying marital issues are unraveled and in tandem with this, issues of love, sex and marriage are challenged”

Bardot’s performance in the film is both as talent-filled and sexually alluring as anyone may have expected but as aesthetic and audacious as it is, Godard and Bardot manage to beautifully tread the line that can so easily be crossed into the territory of the inappropriate and that of poor judgment. Many films that tackle the topic of love & sex are misguided in their priorities and instead find the necessity to be crude and vulgar, but there is no beauty in this and in many cases no truth in it either. As  Contempt does not do this, for example, you never know whether Bardot’s character, Camille, ever really cheats on her husband and the reason for this is because it is not important to the story, it is not necessary and so it is not there. This judgment is where we see the true genius of Godard’s work and this contributes to the already adorned reputation of the movie.

To conclude, I will say that this film is an exhibition as Truffaut proclaimed of how a director’s cinematic career should escalate. He said that each film should be a continuation of the last, and this is the case as we have seen with Godard’s career. His films are all growing exponentially as Godard is discovering himself as a filmmaker. For this reason and many others, I give the film 7.5/10

Adieu. Thanks for reading.

@ianmperrin

Film Critique: Une Femme est Une Femme (A Woman Is A Woman) 1961.

At it’s thematic core, A Woman is A Woman addresses the perpetual battle between man and woman that has been present in all platforms in the history of art. Continue reading