Review of La Chinoise (1967) by Ryan M — 17 Jan 2009
A solid first go at the later hyper-political film essays of the 70s (not that his previous films hadn't been essayistic and obliquely political). I think the principal appeal of this film is its use of formalism to explore the play of ideas.
It's not as charged and complex as the (totally underrated) 'Tout Va Bien', but it manages in the space of its 90 minutes to be engrossingly reflexive and inventive. I really don't think it has a clear ideology -- if anything this movie is more about the politics of form than the politics of Mao, Marx, Stalin, etc.
It does end rather cynically, suggesting that the "fresh approach" Maoism seemed to offer to communism in the 60's was itself another game of harnessing misunderstood ideals to violent and fruitless revolution.
Leaud's earnestness and Wiazemsky's ruthlessness also deserve praise, and the "rainbow room"/ the "year zero theater" were unnerving and surprisingly beautiful. If nothing else be a completist and see how Godard got to 'Weekend' from 'Masculin Feminin'.
This review of La Chinoise (1967) was written by Ryan M on 17 Jan 2009.
La Chinoise has generally received positive reviews.
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