Word: screening
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Dates: during 1970-1970
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...Godard's choreography is concerned more with the dance than the dancers. The middle section of the movie is explicitly about film-his film, the nature of film, the death of film. Godard's cinema collective assembles on screen, and the members discuss what has already gone wrong with the film they are making. Significantly, their criticisms are ideological rather than aesthetic...
...poor quality, that the editing resorts to tricks (unspeakable in documentaries) like pixillation, and that the whole affair is packaged like a landmark of cinema verite, all pale before the movie's ugliest flaw: its politics are asinine. The interviewers are boorish, sexist, and reactionary, and the resulting sub-screen attitudes toward militancy, electoral politics, and violent revolution which emerge are at their very best a parody of post-teenybopper politics...
...bust-up of his marriage is all what's-her-name's fault, and all his directors are just jerks in the end. Only his young son seems to have been spared such compulsive poor-mouthing-so far. Gould's irresponsible childishness on and off the screen may give a vicarious thrill to many who share his petulant self-pity, but until he grows up, this moviegoer will continue to opt for the likes of Dustin Hoffman, Jack Nicholson and Alan Arkin...
...takes our eye to invariably dull and non-descriptive images, and then insists that these are indeed what's important about a number. The Who are one of the greatest stage acts, but Roger Daltry in close-up just doesn't carry their sets- especially when Wadleigh splits the screen in three parts and gives us, yes, three simultaneous close...
...solution for his anxieties something other than shooting down long-haired youths. So, needless to say, you despise him instead. I've read that in New York freaks frequently stand up at the end of the film and yell, "I'm going to kill you, Joe!" at the screen. Swell...