Andrei Tarkovsky discussed one point in his book "Sculpture Time":
"I think with the development of film art, film will not only be far away from literature, but also other related art forms, and become more and more independent. But this process will not be as fast as hoped, but will be very long and different. stage."
The filmmakers of the New Wave period are undoubtedly working non-stop toward this aspect. In this gathering of heroes, Godard stands out from the crowd. He is constantly experimenting, breaking, and innovating. His films seem to be chaotic and unclear, but he understands the uniqueness of the film, so that everything he shows in the image completely conforms to the original frame of the film but transcends this frame, all disorder is finally in order, Ge The success of Dahl's unprecedented film style has made him famous in film history. I have not seen many of Godard’s movies, and I only have a little knowledge of his life and deeds, but for this movie "Weekend", the look and feel of the movie from the beginning to the end is as if a tube is slowly being injected into my veins. Chicken blood, I was so excited before the end of the film, this excitement prompted me to write this article.
The rhythm of Godard's movies can easily make ordinary people have big thoughts. You have to keep up with his thoughts and think carefully, otherwise he has long been far away from you and you don't know it. "Weekend" contains enough specifications to call it a film essay. In terms of narrative, the film is a straightforward road film. It tells the story of the reversal from the couple's greed for wealth to the aunt's house and the final reversal. But what happened along the way is really interesting to tell in words. First, let the audience listen to the wife confessing to the husband a plausible 3p details, and then lead the audience to an eight-minute panning shot with the progress bar in a completely omissionable rush to drive. A group of mobs stopped in the lane on the side. This behavior expressed strong condemnation, and the sound of horns followed one after another. The two faced this pressure all the way horizontally, and when they finally drove on the wide road, I breathed out again. Godard narcissistically took this scene as the antagonist, and the others who insulted and defamed him all stepped aside. Well, Godard doesn't treat the audience like a nanny breastfeeding a baby, but those who can.
Then came the second act, when they encountered one asset and one worker arguing, and the two stopped to watch the theater. The petty bourgeoisie suppressed each other with her eloquence that she could not worry about food and clothing. A war that looked like a class struggle was starting, everyone Onlookers looked like a monkey. Suddenly the form changed, and the flames of war fell on the two couples. They were so frightened that they stepped on the accelerator and hugged their heads, leaving behind the two enemies who were sitting on their backs. They were reunited like this. It's ridiculous! It seems that the two incompatible parties have reconciled in this way. But looking at political history, it hasn’t been a group of people who didn’t want to be slaves to stand up since ancient times. It didn’t take long for a group of people who didn’t want to be slaves to stand up again and again, endlessly. So what does it matter if the two factions hug each other closely? If you are lucky enough, you may be able to exchange positions in your lifetime. The picture returned to the couple’s meeting. Their conversation involved the incident just now. This conversation fully revealed the two people’s petty bourgeois thoughts. They were indifferent and cold-blooded except for food, clothing, housing and transportation. Then the upright Godard rewarded them with a meal. Beaten.
The movie became crazy and abnormal from here. There was a couple who stopped the car and threatened the couple to give them a ride. The couple was very calm and calm. While chatting with them, they shouted for help to the passing crowd. Suddenly everyone talked about it. Name, the man who hijacked the car asked his wife’s name, from husband to father, and finally asked her own name. Of course, with the idea of this role, I would definitely not figure out this question for a while. As an audience, we of course have to help her answer it. Or answer questions for yourself. We have raised a lot of confusion about ourselves in the day and night of cranky thinking, but as time goes by, we think that as long as the physical and social self is well developed, it is enough, but the psychological self is underdeveloped. Just like this, I was covered with a napkin, occasionally being lifted by myself unintentionally, unintentionally looking at the leopard in the tube, and then shelved it like this. The consequence of this is that we may not yet have a psychologist to understand ourselves, how terrible it is and how harmless it is. Back in the movie, the man confessed his true identity as the son of God and Alexandre Dumas, and showed the miracle of conjuring a rabbit on the dashboard. The couple hurriedly made countless funny wishes that fit their image to him, but they did not expect this to be just a joke. Suddenly the two of them changed their attitudes after being so cold watered, and their ridiculous desires were not satisfied. . He took the pistol pointed at them and chased the son of God and his female companion. Finally, he couldn't bear it. The son of God showed another miracle and summoned a flock of sheep to bluff the husband and wife. Godard destroyed the stereotyped image. God is like a robber and a gangster.
The two who escaped from God’s mouth were suspected of being indifferent to life and death. They drove the car into a rampage on the road. They finally got their wish and got into a car accident. With the wail of the wife for the bag and the squirming of the husband, the two escaped. I ran into a Gaullist on the hike, and he was dressed as if he really traveled through the 60s. Heralds the next surreal plot. I ran into a Porsche owner who seemed to be in love with a phone booth. The husband and wife were even robbed of the car by the son of God. They decided not to follow any morality and tried to take the car away, but after all, they did not rival each other. Whether it’s a telephone booth, a car, a bag, a couple killed her aunt just to get her money, too many characters in the movie are caught up in the "brilliant" product achievements of the industrial age, Godard’s The enemy Hollywood is one of them, so the installation of so many cars in accidents is a kind of heartfelt blessing to Hollywood (laughs). The next two passed by a scene of car crashes and deaths. Cars, goods, and users, and the deaths of people are a symbol of ridicule.
They came to a path, and Emily Bronte made her debut, holding her work "Wuthering Heights" in her hands. Facing Emily, she felt complacent, and even felt hateful, because they were in front of her like a demon stabbed in the eyes by the light radiating from the angel. They felt inferior to their barren souls. So someone took out a lighter despicably, burned Emily, burned human civilization, and burned to a mass of ashes. Not only deepens the rotten image of the two, but also destroys the classics once again. While waiting for the bus by the highway, the husband tempted his wife to spread his legs and successfully intercepted a truck. And participated in a concert. The camera rotates and moves, and while the piano music is played beautifully, the audience is a group of country folks, watching and listening boredly. I personally think that this paragraph does not have much substantial effect.
When the two had a nap on the way, a passerby came to borrow the fire and raped his wife in front of her husband. The husband turned a blind eye, and the wife was silent about it. Godard ridiculed the two people so quietly that their feelings are completely tied to their common goal, the return of the hard work of this journey, the aunt's fortune. Then they boarded a free ride. This is a truck carrying proletarians, and his wife treats a proletarian they most despise for half a loaf of bread. The narration sounded waves of black political declarations, and the flashback screen switched back and forth. Godard used this scene to express his political inclination. It also pulled the movie to a serious level in an instant. In the end they successfully reached the end, and the process of murdering their aunt went smoothly. The good times didn’t last long. I met a group of cult hippies during a wild dinner. The couple took a lifelong journey as a result. Following the rhythm of the drum set and the rhythm of reciting ancient ocean scriptures, the wife chewed on eggs and pork with no expression on her face. Delicacy fried with husband's meat. The curtain on their journey finally came to an end. The two middle classes were destroyed physically and spiritually by the beliefs they least believed in.
After the highlight of the narrative, Godard embodies the unique audiovisual style after the frame is destroyed in this movie. The backlight at the beginning of the conversation, the dark frontal image of the characters, the abrupt dubbing, and a bland conversation. Become eye-catching. Segmented narratives, incoherent editing, long shots, PPT-style flashbacks, blocked shots, meaningless close-ups of characters, etc. are concretized with the absurd temperament of the film, the satire of the middle class, and the political worship. Of course, to take care of the audience, Hollywood’s signature elements were added: car accidents, explosions, shootings, and actions. (laugh)
Godard wielded a mace and smashed the frames created by traditional movies, for which he created a round and square frame. As in the quotation at the beginning, Godard's film is a revolution in the development of film, taking the film to the track where it should go. He will not give up any opportunity to slap those clichés severely, and he will not give up any opportunity to dedicate himself to film innovation. Time has passed, and this revolutionary seems to have succeeded in the revolution. He successfully changed the formal perspective of film and inspired the authorship of later generations. This gave birth to many famous directors. Film production is no longer rigid like a mathematical formula, and more classic films have been born. But it seems to have failed again. The author's film has gradually become a kind of cocoon and self-restraint, and the audience's demand for the film has returned to special effects, gimmicks, and concise films. Although I have watched a lot of these movies for the sake of a moment of pleasure, the look and feel is not covered by the dazzling special effects and the boringness of the end that can be seen at the beginning. I hope that there will be more refreshing movies. Come to our world, and come to our country’s big screen, but how can I count what the audience said...but I will not be pessimistic because of this, thank you Godard, you let me renew Pick up 100% respect and love for movies.
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