Adulated or shouted at, the Franco-Swiss director was born on December 3, 1930. For his 90th birthday Le Figaro looks back in pictures on his three major films: Breathless, Contempt and Pierrot le fou.
For the mad new wave moviegoers, he is an incomparable genius … for others his cinema is undrinkable. Always good foot, good eye, Jean-Luc Godard celebrates Thursday, December 3 his 90th spring. The Franco-Swiss filmmaker hardly comes out of retirement, but his rare interventions still hit the mark. In 2015 after the terrorist attacks Charlie, he had not failed in his reputation by declaring the iconoclast: “All the people say like fools “Je suis Charlie”. I prefer to say: “Je suis Charlie” from the verb “to follow”. And I have been for forty years. […] It’s better to follow than to be.“
Unclassifiable therefore, revolutionary of a seventh art, which he made evolve more than sixty years ago with films where “ the invisible became visible», Jean-Luc Godard gave us three nuggets that the movie fan must have seen. With Breathless, Contempt and Pierrot le fou, the director returned to the pantheon of filmmakers at the age of thirty. In 24 frames / seconds, we had everything: the ardor of Jean-Paul Belmondo, the beautiful ingenuity of Jean Seberg, the torrid sex appeal of BB, the aristocratic vulgarity of Michel Piccoli, the sixty-eight charm of his muse Anna Karina and a philosophical conception of life, which Godard will share with Jean-Pierre Melville, for once an actor in Breathless: “Become immortal and then die“.
As a happy ninetieth birthday, Le Figaro presents, below, three extracts fromBreathless (1960), Contempt (1963) and Pierrot le fou (1965). And for the curious, who would like to know everything about Godard’s career, know that Netflix has also placed in its catalog: Alphaville and Detective.
Breathless by Jean-Luc Godard, in 1960, a thug, “sympathetic », Commits a murder, seduces Jean Seberg and dies rue Campagne-Première. The scenes are legendary: the Champs Élysées, Jean Seberg in a T-shirt, Belmondo with his hands in his pockets …
Contempt by Jean-Luc Godard in 1963 … here we love Brigitte Bardot’s buttocks, Michel Piccoli’s game, Villa Malaparte in Capri … and an elusive camera like BB’s love
Pierrot le fou by Jean-Luc Godard in 1965 … Belmondo is called Ferdinand like Céline. Anna Karina, Marianne in the film, becomes his muse, “don’t know what to do », And will take him to the end of love.