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Alphaville, by Jean-Luc Godard
Free Ebook Alphaville, by Jean-Luc Godard
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- Sales Rank: #14552599 in Books
- Published on: 1987-09
- Original language: French
- Dimensions: 1.00" h x 1.00" w x 1.00" l,
- Binding: Paperback
- 108 pages
Most helpful customer reviews
1 of 1 people found the following review helpful.
Great Restoration of a Strange Wonder from Godard
By Arthur Mortensen
This1965 Jean-Luc Godard film is a weirdly delightful science fiction story from one of France's most overtly political filmmakers. In a future world that would have been foreboding then (but is now a paradigm of the past world of main frame dominance of computing) the story is actually rather funny now. The inimitable Eddie Constantine as Lemmy Caution, the embodiment of a 60's French detective -- tough, harsh, loud, violent and relentlessly inexpressive -- is out to assassinate the designer of a computer system that dominates the lives of a future that looks a lot like the world of 1965. Caution's primary mission is to rescue the designer's daughter, another scientist, played by Anna Karenina in one of the strangest films she ever worked in. Glass skyscrapers, terrible traffic, ghastly fluorescent light everywhere, smoky and noisy cars -- inside and out, like the great Greg Bear, Godard finds the best science fiction setting by projecting out from his own world. And that future was one of total central control with a few humanist outliers in a rear guard action. Godard's film is perfectly consistent with this. Every activity is dominated by a constantly lecturing super computer called Alpha 60. A few rebel humanists survive, wonderfully represented by Akim Tamiroff as he dies in a desolate apartment well away from the world of Godard's today.
As the detective hunts, his unrelenting decisiveness, which includes several shootings taken without warning or dialogue, Alpha 60 begins to fail, setting off one of the film's great sequences, where people (the user community?) start to fall apart themselves. No special effects were required -- instead, shades of Fritz Reinhardt, Godard employs highly choreographed actors to represent the loss of central authority by acting like addressless, spastic peripherals, more hardware than human -- quaking in flickering fluorescent, failing, collapsing, clinging to walls, staggering down hallways -- a living chorus of electronic death. It's wonderfully done and, in 2016, both breathtaking and funny. We know today that the failure of one system is less noticed than the fall of a sparrow, but back then this vision was considered a bold warning. Of course, fair to say, Godard being Godard, he was clearly having almost as much fun with what was then a standard science fiction idea of dystopia as we do in watching this movie fifty years later. And, becoming dated doesn't always make science fiction irrelevant; instead, the film today is a powerful expression of how a bad paradigm can lead to truly magical thinking and toward a worse disaster than the one projected.
Anna Karenina is marvelous as Eddie's unwitting damsel in distress. The distorted, heavy basso voice of Alpha 60 is bizarre, affecting and a lot more fun than Hal in Kubrick's 2001, another film centered on a misbehaving computer, and made just 3 years later. Alphaville, as unsophisticated as a Dick Tracy cartoon in manner of delivery, is still, to my mind, Godard's most memorable film. But then, I also liked Godard's Weekend....
2 of 2 people found the following review helpful.
A Real “Killer” B Movie (one of 237!)
By D. Scott Apel
This review is an excerpt from my book “Killer B’s: The 237 Best Movies On Video You’ve (Probably) Never Seen,” which is available as an ebook on Amazon. If you enjoy this review, there are 236 more like it in the book (plus a whole lot more). Check it out!
ALPHAVILLE: Under cover as “Ivan Johnson,” reporter for Figaro-Pravda, supertough secret agent Lemmy Caution (Constantine) drives his Ford Galaxy through intersidereal space into Alphaville, the City of Science. His mission: Locate Leonard Vonbraun (formerly Prof. Nosferatu), founder of Alphaville, and bring him back—or liquidate him.
Lemmy discovers that Alphaville is a fascist utopia where the denizens have lost all sense of feeling and live like emotionless robots; where a new “Bible” (i.e., dictionary) is issued daily, always with the omission of new forbidden words, like “conscience” and “tenderness”; a “galaxy” of its own, where Yes means No and where no one says “Why?”; a city where one either “adapts” or is executed; where a man can be condemned to death for acting illogically—like crying when his wife dies. It is a totalitarian technocracy ruled by the dispassionately logical Alpha 60, the “dreadfully unique” most powerful computer ever assembled. And Prof. Vonbraun created it all.
Complicating his mission, Caution finds himself falling in love with Natasha Vonbraun (Karina), the Professor’s delicate and beautiful daughter; a “pretty sphinx” who might yet be saved from the soulless city. Lemmy discovers that Alphaville plans an attack on The Outlands before they destroy its logical perfection. Can Lemmy complete his mission and rescue the human race—and Natasha—before Alpha 60 destroys them all?
Discussion: “All things weird are normal in this [expletive deleted] of cities,” Lemmy mumbles at one point. “It’s not Alphaville, but Zeroville.” And it’s not pop art, but real cinematic art masquerading as pop art. It’s the most sublime philosophy illustrated by the lowest genre forms: part detective thriller (complete with deadpan narration); part film noir; part graphic novel; part sci-fi; part pop art—and part pure poignant poetry. Godard plays with the conventions and limitations of every one of these genres, using their guileless simplicity and artless bluntness to deliver facts of the heart, unvarnished.
And it’s a totally appropriate approach. Within the city limits of Alphaville everything is exaggerated; everything falls into extreme contrasts. The perfect computer utopia looks like our worst nightmare of a 1960s Eastern Bloc hovel—yet it was filmed in Paris, the City of Lights. The stark black and white photography accentuates the black and white philosophies of both Caution and Alpha 60; of his meaningful illogic versus its logic devoid of meaning. They are engaged in a war between head and heart; between darkness and light; between the go-nowhere circle and a straight line “towards those you love.”
Buuuut we’re getting pretty pompous and pedantic. “Alphaville” is giddy fun, and a wonderful oxymoron: a dead-serious parody; a deeply-feeling film easily mistaken for being shallow or pretentious, when it is in fact a parody of pretentiousness; and a film filled with insight and poetry. Time capsule scenes include Caution’s interview with Alpha 60 and the finale, a masterpiece of poignance, tenderness and salvation. If, in this final scene, you cannot feel, cannot intuit, the words Natasha does not know but that Lemmy is waiting for her to say...then you’re as lost as the dead of Alphaville.
4 of 4 people found the following review helpful.
PROCEED WITH CAUTION!
By robodisco
Is it trashy art or arty trash? Who cares? The cinematography is pure heaven. The soundtrack is a buzz (even the moments of total silence rock). And the swimming pool scene? Well...you gotta see it to believe it,man. Still an influence on modern film and music, including albums released in 2011 by Bryan Ferry and Hyperbubble, ALPHAVILLE rewards repeated viewings with clues that you cant believe you missed the first time. Its rough, but sweet...brainy, yet fun...totally cliched, yet totally imaginative. I cherish every frame. In a world flooded with films created for the purely logical reason of making money, ALPHAVILLEs visit from a galaxy where movies are made for the love of film is always welcome.
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