Godard's statement

Korey 2022-07-04 22:24:09

Watching Godard again after a few months is actually because watching a Godard is too exhausting and takes a long time to recover, but fortunately this time the look and feel is very good.

This film belongs to Godard with a very dramatic plot. Unlike the pure stream of consciousness works that followed, a single clip can be self-contained, and there is almost no logical relationship between them. This part can clearly see a main line, the plot development can be carried out according to this line, the content of each part is connected under the normal logical relationship, although the dialogue is poetic, it is still in the "normal" range, so it is relatively easy to understand the plot. Easy.

Godard advocates the theory of actor improvisation, putting aside the established meaningless dialogues in the script, adapting to the situation in the performance, expressing his true thoughts without modification, but the actors should not have too much emotional color at the same time. From this point of view, it is very similar to Bresson's puppet theory of actors, but Bresson absolutely and strictly requires actors to perform according to their own scripts and lines, leaving no room for freedom, splitting the relationship between the body and the object and deconstructing Isolated image connotation. However, Godard finally achieves the purpose of releasing his emotions by suppressing his emotions. After watching the film, I was able to determine that Godard was higher than Bresson.

Godard's approach is always avant-garde and can easily be defined simply as an experimental approach. But in fact these are forms specific to serving the content of the film. Jump cuts, misalignment of sound and picture, etc., which seem meaningless, are to show a state of absent-mindedness and emptiness of people. Maybe they are still here one second before running to other places the next second. The jump of thinking is transformed into an image by jumping and cutting. The misalignment of sound and picture shows the contradiction between the heart and reality. Maybe what you are looking at does not match what you think in your heart, or something randomly interrupts your thoughts and thinks of another thing. , the sound and picture misalignment perfectly fits this state. These techniques of Godard are actually a way of externalizing the inner state. In a sense, this also belongs to psychological realism (yes, it is the patent of Fellini and Antonioni). Fellini is good at externalizing the subconscious through dreams. In this way, the lines blurted out by the actors have practical significance. The form suitable for the content will promote the expression of the content. Godard's film language is reflected in the sound, the pairing of the painting form and the content.

Godard would show his political views in the movies unadorned. The soldier has a very strong political overtone, throwing out the sensitive issue of the war between France and Algeria in a flash. Secret agents, double agents, assassinations, executions, these areas that no one dares to touch, Godard has all been staged over and over again. The satire of the left and the right cannot be tolerated, and the attacks on terrorism, historical nihilism, and nationalism are all on display.

Godard's philosophical speculation can be clearly seen in the nearly twenty-minute monologue of the male protagonist at the end. What Godard wants to express is how young people in a sensitive age can overcome their anxiety in the face of an existential crisis and how to keep their original aspirations untouched in a sinister political environment. The paradox of cause and effect is quite meaningful, because he is my brother, so he looks like me, or because he looks like me, so he is my brother? Happiness because of being free, or freedom because of happiness? Cause and effect Perhaps there is no clear boundary, nor does Godard's film have a clear direction, we can only feel its unique charm in the jumping images.

View more about Le Petit Soldat reviews

Extended Reading

Le Petit Soldat quotes

  • Veronica Dreyer: I could see that the French were wrong. The other side has an ideal, but the French don't. It's very important to have an ideal.

  • Bruno Forestier: It's terrible today. If you just calmly do nothing, you get hell precisely for doing nothing. So, we do things without conviction. And it's a pity to wage war without conviction.