This, throwaway jokes and all, is Godard back at his most nouvelle vague in years.
First Name: Carmen (1983)
Tomatometer
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Reviews Counted:8
Fresh:7
Rotten:1
Average Rating:7.7/10
Runtime: 90 mins
Genre: Foreign Films
Synopsis: Jean-Luc Godard revisits the crime genre with FIRST NAME: CARMEN, an offbeat drama that follows the unlikely relationship that blossoms between a criminal and an officer of the law. Carmen... Jean-Luc Godard revisits the crime genre with FIRST NAME: CARMEN, an offbeat drama that follows the unlikely relationship that blossoms between a criminal and an officer of the law. Carmen (Maruschka Detmers) is a sexy terrorist who plans to team up with her cohorts in order to rob a bank, securing enough money for her to shoot a documentary film. Complications arise during the heist when she is drawn to the bank's security guard, Joseph (Jacques Bonnaffe). The pair flees to her crazy uncle's seaside house, where they embark on a passionate affair. Eventually, Carmen's boss (Christophe Odent) arrives. He is a cocky criminal who won't allow Joseph into their gang. When they decide to rob a wealthy businessman and his daughter, a shootout commences and the doomed relationship between Carmen and Joseph ends once and for all. Godard's award-winning film recalls his earlier PIERROT LE FOU and DETECTIVE, two other high-octane crime dramas that successfully toyed with conventions of the genre, resulting in highly original works. Featuring the stunning Detmers in the title role, Godard's FIRST NAME: CARMEN is also aided by the supporting turns from Bonnaffe and Odent. Godard himself plays an aging, borderline-insane director. [More]
Starring: Maruschka Detmers, Jacques Bonnaffe, Myriem Roussel, Christophe Odent
Starring: Maruschka Detmers, Jacques Bonnaffe, Myriem Roussel, Christophe Odent
Director: Jean-Luc Godard
Director: Jean-Luc Godard
Screenwriter: Anne-Marie Miéville
Producer: Alain Sarde
Reviews for First Name: Carmen
With equal parts heist drama and romantic comedy, the movie continues Godard's exploration of film ....
By accepting his indulgences, the viewer is treated both to his wry sense of humor and his refreshing intelligence.
The film is spiced with passion, philosophy, eroticism, and technical innovation, and while its ideas are relatively accessible, they still do not make for 'easy' viewing.
He is searching for a point of equilibrium between the made and the found, the ordered and the chaotic -- a point from which to define an aesthetic for the 80s.
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