Jean-Luc Godard, giant of the French new wave, dies at 91

French-Swiss director Jean-Luc Godard, a key figure in Nouvelle Végé, the filmmaking movement that revolutionized cinema in the late 1950s and ’60s, has died at the age of 91, French newspaper Liberation reported. Told.

Known for his iconoclastic, seemingly reformed filming style as well as unshakable fundamentalism, Goddard made his mark in the 1960s with a series of increasingly politicized films, an unexpected career revival in recent years. Before enjoying, with films like Samajwad and Alvida. He experimented with digital technology as a language.

French President Emmanuel Macron tweeted: “We have lost a national treasure, the eye of a genius”. He said that Goddard was the “master” of cinema – “the most iconoclastic of Nouvelle Végé”.

Filmmakers paying tribute include Last Night in Soho director Edgar Wright. who called him “One of the most influential, iconoclastic filmmakers of them all”.

Born in Paris in 1930, Goddard grew up and went to school in Nyon on the shores of Lake Geneva in Switzerland. Moving back to Paris after finishing school in 1949, Goddard found a natural habitat in the intellectual “cine-club” that flourished in the post-war French capital and proved to be the crucible of the French New Wave. After meeting critic André Bazin and future fellow directors François Truffaut, Claude Chabrol and Jacques Rivet, Goddard began writing for new film magazines, including Bazin’s soon-to-be-effective Cahiers du Cinema. Goddard struck a temperamental note from the start, defending traditional Hollywood filmmaking and promoting the likes of Howard Hawks and Otto Preminger over more fashionable figures. Goddard also had a reverence for Humphrey Bogart, something that would emerge in his first feature, Breathless, which he released in 1960.

Jean-Paul Belmondo and Jean Seberg in Breathless. Photograph: Raymond Couthetier / Courtesy James Hyman Gallery

Before that, however, Goddard eased his way into filmmaking through a series of short films such as Charlotte and Véronique, or All the Boys Are Named Patrick in 1957, which marked his loose, apparently slippery film making. Prefabricated style. Truffaut’s earlier idea of ​​a petty criminal and his girlfriend was abandoned, but Goddard thought he could turn it into a feature, and asked permission to use it. Meanwhile, Truffaut had achieved a major breakthrough with his own feature, The 400 Blows, and his influence helped Goddard get his project off the ground. With the negligible use of artificial lighting on the streets of Paris in 1959, and a script written day by day, Breathless turned into a real cultural phenomenon upon its release, making Jean-Paul Belmondo a star and Goddard won the Best Director award. at the Berlin Film Festival.

Goddard made several seminal films in the 1960s at a furious rate. His next film, Le Petit Soldat, suggested that the French government pardon the torture, and it was banned until 1963, but it was also the film on which Goddard met his future wife, Anna Karina, with as well as coined his most famous aphorism, “cinema”. True at 24 frames per second.” Other highlights include A Woman Is a Woman, a self-referential tribute to the Hollywood musical, in which Karina re-starred with Belmondo and won more Berlin Awards; Michelle Piccoli, Brigitte Bardot, with Jack Palance and Fritz Lang in the extravagant, epic film-about film-making contempt; and Alphaville, a quirky hybrid of film noir and science fiction.

Brigitte Bardot and Michel Piccoli in Contempt.
Brigitte Bardot and Michel Piccoli in Contempt. Photograph: Nana Productions / REX

Goddard’s marriage to Karina had ended in divorce by 1965; Their last feature together was Made in USA, a tribute to American Pulp Fiction that ran into copyright problems in the US. By this time Goddard was also fully identified with the revolutionary politics of the era, and his filmmaking reflected this: he co-founded the Soviet director of Man with a Movie Camera, a film-making group named Dziga Vertov. installed, which helped take it off. Collaborated with young Marxist student Jean-Pierre Gorin on Tout va Bien, a study of the strike at a sausage factory, at the 1968 Cannes Film Festival in sympathy with the student riots in Paris, and featuring Jane Fonda.

Goddard also met film producer Anne-Marie Mieville, who became a regular collaborator, in 1970, and later, after the breakup of his second marriage, to Anne Wyzemsky, who starred in Goddard’s 1967 student radical studies It was La Chinois.

goodbye to language
Goodbye to the language Photograph: StudioCanal

As the ’70s progressed, Goddard’s rigid political and intellectual stance began to lose its influence, and the influence of his work waned in the 1980s—though, improbably, his 1987 film King Lear , was reconfigured as a post-apocalyptic skit featuring a gangster. Liro, was financed by action specialist Canon Films.

His 2001 feature In Praise of Love made a comeback, being shortlisted for the Cannes Film Festival, while the 2010 release of the film Socialism preceded the award in 2010 of an honorary Oscar (the quote read: “For passion. For confrontation. A new kind of cinema for one”). Usually, Goddard failed to collect it in person. His 2014 film Goodbye to Language won him a one-time “Special Palme d’Or” with a major film-making award, the Jury Prize at Cannes, and Image Book, which was selected for the 2018 Cannes Film Festival. . ,

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