Review of Contempt (1963) by Callum R — 04 Dec 2012

La Mepris: Godard's most mainstream and arguably most personal endeavour is uniquely crafted and expertly fulfils its adventurous aspirations. 8.0/10.

Downbeat and decidely muted style leaves this Godard film at qualms with his usual montage and power of the camera. From the moment he reads out the cast and crew, to the introduction of Expressionist maestro and inspiration Fritz Lang you begin to comprehend that this Godard film is more meaningful and provoking than his others. Such personal assemblance in structuring this sad parable, Godard adds layer upon layer of meaning to his cast who are acting out the Greek conflict of The Odyssey in a striking and stark relationship. The title 'Contempt' refers to Piccoli's wife (Bardot) who spends most of her time in frame naked. This struggle between art (Lang's interpretation of Odyssey) and commerciality (the film producer's idea of film) mirrors the struggles and ambition Godard himself had when writing for Cahiers. Such despair does taint the films appeal, and even as I write this its hard to find and describe the enjoyment of watching this film other than to realise Godard's hopelessness of a lose-lose situation. My feelings to this are similar to that of Hitchcock's Vertigo, a mysterious film which I can't warm to or understand. Contempt is cold and Piccoli is left in dire straits until fate happily takes away such miserable conclusions. Widely regarded as the director's masterpiece and made arguably at the height of French New Wave prowess, Contempt is a picture with depth and texture whose audacious tenacity is both self-reflexive and slightly pretentious. Further viewing is required, but I advise you to take a look at this fascinating detour from Godard.

Rated (15): Contains Strong Despairing Naked Bottoms from the start.

Final Score: 80/100 TO BE MODIFIED IN DUE COURSE.