He later learns that she has killed herself. The black-and-white and color drama was shot by Julien Hirsch and Christophe Pollock. /* Wide Banner White */ Rosenthal, the wealthy art dealer and financial backer of Edgar’s project, is one of our best leads. At the urging of his financial backer Mr. Rosenthal, an art dealer whose father once owned a gallery with Edgar's grandfather, Edgar tracks down the woman, named Berthe, where she is working at night cleaning passenger cars at a railroad depot. Godard made no statement in response, letting Eloge de l’amour – in which all the main characters are Jewish and the memory of the Holocaust casts a long shadow over the present – do the talking. Perhaps she can embody the adult incarnation of love. google_ad_client = "pub-7825716550687175"; In keeping with the film’s long pre-production, the shoot itself stretched out over a longer period than any other in the director’s career. But the most forthright attack is against what Godard perceives to be Hollywood’s cultural imperialism. Claude Baignères, the long-time critic for Le Figaro and a close friend, played Rosenthal. They glimpsed each other for a moment through a glass door and sensed: mutual recognition? "[6] Film critic Roger Ebert, who gave the film one out of four stars, took issue with scenes in the film in which Godard accuses filmmaker Steven Spielberg of never paying Emilie Schindler for her contributions to his 1993 film Schindler's List, and leaving her impoverished in Argentina. eloge de l'amour godard. "[4] Film Comment named it one of the top 50 films of the decade (2000s). google_ad_slot = "3140248122"; The woman, Berthe (Cecile Camp), however, refuses him outright. He is able to visualize the stages of youth and old age but keeps having trouble with adulthood. Later she drives him to the station. Sinopsis: Edgar, un joven director de cine, busca una actriz para su próximo proyecto, un film sobre las 4 estaciones del amor (encuentro, pasión, separación y reconciliación). In Praise of Love (French: Éloge de l'amour) is a 2001 French film written and directed by Jean-Luc Godard. Valladolid International Film Festival: Golden Spike, Jean-Luc Godard; 2001. Godard has famously stated that, "A film should have a beginning, a middle and … He even appears himself in Montparnasse, sitting on a bench at night and reading a book as the hubbub of the city swirls around him. Still dissatisfied, Godard turned to cinema as a subject, splitting the story into two sections. We do not know if the project is for a play, a film, a novel or an opera. In the second section, a man in Paris, who is heard but not seen, seeks actors for a project called Eloge de l’amour. Before anything else you think: that’s an old man. "[9] Japanese film critic Shigehiko Hasumi also listed the film as one of the best of the decade,[10] and it was voted one of the thirty best films of the 2000s in a British Film Institute poll for Sight & Sound. Em 'Éloge de L'Amour', Godard voltou a filmar nas ruas de Paris, o que era muito comum em sua clássica produção dos anos 1960. After some time they meet again and walk through Paris from night until morning, discussing many things. Edgar visits a homeless shelter and selects a man sleeping in one of the beds. The company wants to purchase the rights to the couple's story for a film written by William Styron and starring Juliette Binoche. Films) Im Anschluss an den Hauptfilm: JLG in ZH (2002) Godard beantwortet Fragen zu Éloge de l'amour bei Fred van der Kooij im Vorlesungssaal an der ETH Zürich. It’s an appropriately Proustian moment for a film in which Godard’s own personal history is intrinsically woven into the fabric of the story. The narrative is actually quite simple but the way Godard presents it is not. Rémo Forlani, who played Rosenthal’s attorney, had written the fake script for Pierrot le fou. Edgar keeps flipping through the pages of an empty book, staring intently as if waiting for words to appear. Durée: 97' Réalisé par: Jean-Luc Godard. Read reviews from world’s largest community for readers. Directed by Jean-Luc Godard. But with adults, it’s anything but obvious. Version française. Someone we hear talking - but whom we do not see - speaks of a project which describes the four key moments of love: meeting, physical passion, arguments/separation and making up. Gone but not forgotten. “Then your debt is paid,” says his adviser. In answer to the advice of his financial advisor not to waste so much money on the boy, he explains that Edgar’s grandfather and his father were the same age and were partners in the gallery. But to continue with the notebook analogy, the decorous prose, graceful penmanship and impressive paper stock cannot disguise the banality of what is written. Audiences seemed more interested in retrospectives of Godard’s earlier work. 952 likes. Even longtime Godard favourite, hard-boiled writer Peter Cheyney is cited. This encounter leads Edgar to meet an elderly couple who fought in the Resistance and have been together ever since. The couple is meeting with delegates from the American state department who are helping to broker a deal on behalf of "Spielberg Associates." Edgar runs into Berthe at a lecture at a Parisian bookstore by expatriate American journalist Mark Hunter about the Kosovo War. Scott, while praising the film also found its anti-American content polemical. Une nouvelle occasion de découvrir l’originalité et la pertinence de ce réalisateur unique pour qui le cinéma est, en premier lieu, de … It’s the last image we see before the screen flares into brilliant colour, heralding Edgar’s flashback to his earlier meeting with her. It was here that Edgar first met and got to know her. A director is auditioning or rehearsing actors. At the same time two Hollywood executives and a representative of the American government are in the process of buying the rights to the couple’s wartime experiences in the French Resistance. [8], Richard Brody of The New Yorker declared In Praise of Love the greatest film of the 2000s, stating that it is "one of the most unusual, tremulous, and understated of love stories, as well as the story of love itself; ... Godard’s third first film, thus something of a rebirth of cinema. Ebert wrote, "One muses: (1) Has Godard, having also used her, sent her any money? Godard has famously stated that "a film should have a beginning, a middle and an end, but not necessarily in that order." Eloge de l'amour est un film réalisé par Jean-Luc Godard avec Bruno Putzulu, Cécile Camp. In Praise of Love polarized film critics. (2) Has Godard or any other director living or dead done more than Spielberg, with his Holocaust Project, to honor and preserve the memories of the survivors?" The script then evolved into a complex narrative of three couples – young, adult, and old – who separate and then get back together again. In Praise of Love (French: Ãloge de l'amour) (2001) is a French film directed by Jean-Luc Godard. You see, you have no name. After he has completed his interview, Berthe drives Edgar to the station... As a small boy, Jean-Luc Godard’s favourite book was an adventure story called Le Voyage d’Edgar by Edward Peisson. He tries for the same quality in his project but struggles to find it. Edgar (Bruno Putzulu), is preparing to make a “project” about the four stages of love – meeting, passion, separation and reconciliation – as experienced by three couples: young, adult and old. Reviews were generally favourable yet most failed to perceive the film’s depth of meaning or were put out by its attacks on mainstream cinema. Elogio del amor es una película dirigida por Jean-Luc Godard con Bruno Putzulu, Cécile Camp, Jean Dhabi, Françoise Verny, Philippe Lyrette .... Año: 2001. The grandparent’s sign away their life-story in order to save their hotel. Jean-Henri Roger, Philippe Loyrette and Lemmy Constantine were all connected to his past. Título original: Éloge de l'amour. Eloge de l’amour de Godard, le livre, fonctionne à part entière : très beau, sauf lorsqu’il prétend délivrer un message. He wrote, "In Praise of Love, it must be said, is the most elegant and coherent feature he has made since the mid-1980s. And yet, for those willing to engage with it, Eloge de l’amour is as vital and thought-provoking as any of the films from Godard’s more celebrated periods. Helping the couple with negotiations is Berthe, who it transpires, is their granddaughter. She was originally to have played the younger woman but had a falling out with her director and left the project. Retracing the journey that brought Eloge de l’amour to the screen helps to elucidate a film that can seem bewildering to many on first viewing. Finding an actor to play Edgar proved equally difficult until Godard saw a film called Les Passengers and was impressed enough by its young lead Bruno Putzulu to call him in for an audition. Just as he used to cut out all the action that didn’t interest him in his earliest films – thus creating the jump cut – so here, through elliptical editing, he forces us to look more closely than we normally would, searching for some kind of clue to unlock the images and scenes we are watching. They end the conversation with an air of finality. It’s no surprise that they need other people’s stories, other people’s legends. Top of the list was the failure “to prevent Mr Spielberg from reconstructing Auschwitz”. Nous devons nous demander pourquoi elles nous passionnent…. This agreement has been signed with the representatives of a country the inhabitants of which have no name. Berthe remembers Edgar (and marvels at his memory) but emphatically does not want to be involved in his project. The failure of cinema to prevent or record the concentration camps had been a major preoccupation of Godard’s for some time and was one of the major themes of Histoire(s) du cinéma. Le nouveau film de Jean-Luc Godard, « Eloge de l’amour », sort le mercredi 16 mai.C’est une cantate dont les personnages chantent la Résistance, la mémoire et le cinéma. What Edgar cannot know is what awaits him in the future, about which he is informed at the end of the first part of the film – that Berthe commits suicide. Only the abrasive Berthe raises any opposition to the deal. Il le laisse advenir, le fait apparaître.. « C'est comme la mécanique quantique, explique Godard. The first version, begun in 1997, concerned an older man leaving a younger woman for an older one and being happier for it. DISCLAIMER: video published exclusively dedicated to divulgation purposes and not commercial, with any perception related to the publicity. And, despite an intensive publicity campaign, cinemas remained on the whole empty. Mr. Rosenthal is there to witness the scene, but the status of "the project" is unclear. The script evolved through several drafts over some years. The granddaughter is Berthe, and this is when she and Edgar first meet. all rights reserved, all content copyright S Hitchman/A McNett 2008-2020. Verhaal [ bewerken | brontekst bewerken ] Leeswaarschuwing : Onderstaande tekst bevat details over de inhoud en/of de afloop van het verhaal. He looks in particular for a young actress – the young woman from the first section – who is now working as a cleaner, but he fails to persuade her to appear in the film. eloge de l'amour godard. Jean-Luc Godard, Éloge de l'amour (2001) Film ČSFD.cz, Jean-Luc Godard filmy ČSFD.cz, filmografie z ČSFD.cz To show how important memory is to him, Godard floods the film with his own personal associations. The young woman, who is an aspiring actress, approves, thinking there may be something in it for her; the young man disapproves, breaks off their engagement, and leaves. The two brash Hollywood executives who come to buy the life rights from Berthe’s grandparents are accompanied by a representative from Washington, Sumner Welles Jr, who explains his presence at the meeting to Berthe: “Do please understand, my dear young lady, that Washington is the real director of the ship, and that Hollywood is only the steward.” Whether Godard is justified in equating the American cinema industry with the American government’s foreign policy is open to debate, though it can’t be denied that Hollywood’s domination of the world’s entertainment industry can sometimes crush indigenous cultures – a point made here in a hilarious moment when two young girls wearing the traditional lace caps and white aprons of Brittany arrive at the door of the grandparents’ house with a petition to have The Matrix dubbed into Breton. The review aggregator Rotten Tomatoes reported that 51% of mainstream critics gave the film positive reviews, based on 72 reviews. In the first section a young engaged couple stay the weekend at their grandparents’ house. The second section of the film is shot in video with over-saturated color. An abrupt cut takes us back two years to a house on the coast of Brittany where Edgar has come to interview an elderly couple about their experiences in the Second World War. Who remembers Vietnam’s resistance?” Elsewhere Mark Hunter, an American journalist, condemns his country’s involvement in a later foreign war then taking place in Kosova. On the occasion of the Film Society of Lincoln Center’s major retrospective, a smorgasbord of Godard posters. AKA: In Praise of Love. In a tender but brief moment, Edgar directs two young people, to whom he had earlier assigned the roles of Perceval and his love Eglantine, to bathe the man in a shower. During auditions, Edgar struggles to find the right actress to play the lead role. An intertitle announces that it is two years earlier. Afterwards, the two wander the city of signs and monuments, talking through the night and into the next day, eventually stopping at an abandoned Renault plant, where they contemplate the collapse of the workers movement. [3] The film critic for The New York Times, A.O. Éloge de l'amour è un film del 2001 diretto da Jean-Luc Godard. There’s a reference to that war here with Rosenthal’s Vietnamese maid commenting, “the Americans are everywhere. Film de Jean-Luc Godard avec Bruno Putzulu, Cécile Camp, Jean Davy : toutes les infos essentielles, la critique Télérama, la bande annonce, les diffusions TV et les replay. Up-and-coming actress Marie Desgranges was originally cast and went through extensive interviews with Godard but was fired shortly before the start of the shoot – she appears briefly in a scene on a bench in the streets of Paris. Like Edgar with his project, we need to look beneath the surface and listen closely if we want to get at the truth. They’re never entirely naked, so to speak. She was bought out of the gallery and spent the money on racing cars for her hapless husband who subsequently died at Indianapolis. Edgar continues to interview people, to his continuing dissatisfaction. She’s in poverty in Argentina.” At the time of the film’s release some took issue with this including the critic Roger Ebert who wondered if Godard himself had sent Mrs Schindler any money after using her name. Trama [ modifica | modifica wikitesto ] Questa sezione sull'argomento film è ancora vuota . Such evocative scenes of Paris, shot in velvety black and white, and the even more arresting scenes set in Brittany shot in evocative colour video, were what immediately captured people’s attention when the film premiered in competition at the Cannes Film Festival in 2001. In Paris, he interviews potential participants from all walks of life (including those people Victor Hugo dubbed les misérables, whom Edgar considers important to the project), but is continually dissatisfied. Découvrez 6 films de Jean-Luc Godard dans le cadre de la Nuit blanche, le samedi 3 octobre 2020 à partir de 19h à l'Institut du monde arabe. The book features poignantly in Eloge d’amour (In Praise of Love), chosen as a memento by the hero – also called Edgar of course – from the library of the elusive and now deceased Berthe. “Which Americans do you mean?” She enquires, pointing out that “Mexico is also made up of United States of North America, and those people are called Mexicans; Canada too, and they are called Canadians.” She continues: “So what is the name of what you call your United States? Edgar makes it a point to tell Berthe that Hunter is an example of a "good American." A mark of how much the film meant to Godard was reflected in the care, and attention to detail he brought to all aspects of the production. This week Sarinah Masukor looks at Jean-Luc Godard’s 2001 feature Éloge de l’amour (In Praise of Love). She objects to use of the word American by the two film executives and the man from Washington who have come to secure the rights. He asked Putzulu to read a text aloud and was delighted when he did so “without adding anything.” Putzulu, who had recently won the César for most promising young actor, had no objection to appearing off-screen, although by the time the film went into production, his role had taken centre-stage. But for Rosenthal, “there’s still memory.” A pragmatic romantic, Rosenthal asks Edgar to clarify his project. The man, a minister of culture for the area, is there to take Edgar to meet Jean Lacouture, whom Edgar proceeds to interview about the role of Catholics in the French Resistance, in connection with a cantata he is writing for Simone Weil. He makes direct reference to the film when Berthe comments that, “Mrs Schindler was never paid. But the important thing is he tries. With old people it’s the same thing. This aphorism is illustrated by In Praise of Love (Éloge de l'amour), which reverses the order of past and present. google_ad_width = 728; This aphorism is illustrated by In Praise of Love (Éloge de l'amour), which reverses the order of past and present. Éloge de l'amour, Jean-Luc Godard, P.o.l.. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . The street magician was played by Bruno Mesrine, the son of the gangster Jacques Mesrine, about whom Godard had wanted to make a movie in the late 70s. With Bruno Putzulu, Cécile Camp, Jean Davy, Françoise Verny. For this, and for its formal and visual originality, Eloge d’amour is now recognised as one of Godard’s most accomplished and seminal works. In the opening scenes we see fragments of auditions but little in the way of context to explain what we are watching. Éloge de l'amour est un film français réalisé par Jean-Luc Godard, sorti en 2001. Éloge de l'amour (2001), Jean-Luc Godard #éloge de l'amour #in praise of love #jean-luc godard #2001 #france #switzerland. After spending time with Berthe, Edgar takes the train back to Paris, and reflects on his encounters. You pass them in the street and the first thing you say is: they’re youngsters. lectual i compromès A Jean-Luc Godard se’l coneix principal-ment per … The black-and-white and color drama was shot by Julien Hirsch and Christophe Pollock. “There can be no resistance without memory” is a repeated statement in the film and one can see an analogy here between the Resistance in occupied wartime France and the resistance Godard suggests is necessary against the forces of capitalism that have colonised modern day France. As a boy he was in love with Edgar’s mother Hélène, but she preferred somebody else – the man who became his father. Éloge de l'amour / 97 / Farbe + sw / 35 mm / F/d Regie: Jean-Luc Godard Encouraged by his financial backer, a wealthy art dealer, he tracks down a particular woman, whom he had once known and who has the necessary qualities for the role. They part company, and later Berthe speaks with Edgar over the phone; they talk about when they first met and she questions him as to why he has stopped talking about his project. Something is already happening when Éloge de l’amour begins. The person Edgar really wants is someone he met two years ago, a woman who "dared speak her mind." Berthe attempts to nullify the contract by arguing that the signatories are not members of a defined nation, referring to themselves simply as "Americans," when "America" is a term that encompasses two continents with many countries – but it is a futile effort. Précédés d'un débat Éloge de l’amour | Institut du monde arabe This page was last edited on 23 January 2021, at 05:03. Much of the cast too was made up of people of personal significance to him. He is unsure whether the project should be a novel, a play, an opera, or a film. Éloge de l'amour. The black-and white and colour drama was shot by Julien Hirsch and Christophe Pollock. Love at first sight? [1] Godard has famously stated that "a film should have a beginning, a middle and an end, but not necessarily in that order." In the final scene of the black and white section, Edgar goes to meet a man who has some news for him about Berthe. This project is to be told through three couples: young, adult and old. Rather than trying to reconstruct past events, Godard reveals the past to be an integral and inescapable part of the present. Godard saved his greatest ire for Steven Spielberg who he’d already publicly criticised when the New York Film Critics’ Circle wanted to honour him in 1995 and he’d refused, sending back a list of nine aspects of American cinema that he had been unable to influence. "La mesure de l'amour est aimer sans mesure" Rather than trying to reconstruct past events, Godard reveals the past to be an integral and inescapable part of the present. What do we know? November 29, 2020 by ; 0 Comments Indeed the film advances many of the director’s most deeply held convictions and ideas about history, politics, and cinema – all themes he had explored in Histoire du cinema, but this time in a fictional form. google_ad_height = 90; The first half of the film, shot on black and white film, follows a man named Edgar who is working on an undefined "project" about what he considers the four stages of love: meeting, physical passion, separation, and reconciliation, involving people at three different stages of life: youth, adulthood, and old age. Since you don’t have a long history, you go looking for it from others.” Memory, rather than love then, is the central theme of Eloge de l’amour. Après les Histoire(s) du cinéma, portrait du XXe siècle, Jean-Luc Godard poursuit sa réflexion sur le cinéma, la guerre, l'amour, la parole et l'image : "Eloge de l'amour" (2001) et "Notre musique" (2004) s'abreuvent à la source des grandes déchirures du siècle passé, de … The grandparents, who had been renowned activists in the French Resistance, have received an offer from Steven Spielberg to buy the rights to their life story. Eloge de l'amour subtitles. //--> Éloge de l'amour, film de Jean-Luc Godard, est sorti le mercredi 16 mai 2001. pour introduire : extraits citationnels de l'article paru dans LE MONDE DIPLOMATIQUE, ... Éloge de l'amour est un éloge du temps. Eventually Edgar stages the “project” at a homeless shelter without Berthe. Éloge de l'amour. Godard: sempre e come sempre Godard Giancarlo Zappoli Qualcuno parla di un progetto sull'amore che vuole tenere conto di 4 momenti chiave: l'incontro, la passione fisica, le … When you think of something ("de quelque chose"), he muses, you are always thinking of something else. There are direct references to some of his own heroes and significant influences, including Robert Bresson, Jean Vigo, Henri Langlois, Sartre, Balzac. In these scenes, as in the rest of the film, we only ever see her from oblique angles or obscured by shadows. The couple's granddaughter, in training to be a lawyer, is attempting to get them out of the contract, as they are afraid they have been shortchanged. [7] The claim that Emilie Schindler was living in poverty was also disputed by Thomas Keneally, author of Schindler's Ark, who verified that he had sent her a check himself. [2] Metacritic reported the film had an average score of 62 out of 100, based on 31 reviews. Foot Notes. November 29, 2020 2020-11-29T15:09:12+00:00. Ein hoch spannender Film, der sich über einen individuellen Zugang erarbeitet werden muss.» (Lexikon des int. Of course, this is how Godard wants it. Éloge de l'amour (Jean-Luc Godard / Suisse, France / 1999 / 94 min / 35mm) Rétrospective Alain Sarde Dimanche 24 mai 2009, 19h30 - Salle Georges Franju → 21h10 (97 min) “It’s like this,” Edgar explains, “With young people it’s obvious. 10 notes [5], Film critic Charles Taylor criticized Godard for "talking about Americans having no stories of their own, no past of their own (he claims we don't even have a name)"[6] and questioned "How can a man who, along with his colleagues in the French new wave, did more than anyone to alert America to the art of its movies, the art we always took for granted, suddenly turn around and proclaim the whole culture worthless? Platon: « Le Banquet », Flammarion, 2008. In Praise of Love (French: Éloge de l'amour) is a 2001 French film written and directed by Jean-Luc Godard. He auditioned fifty other actresses before choosing Cécile Camp. Spielberg’s Schindler’s List, with its reconstruction of the camps for the sake of telling a story, was, from Godard’s perspective, an obscenity. During casting and rehearsal the story evolved further. His visual command -- of the velvety shadows of black-and-white 35-millimeter film and the thick, supersaturated tones of digital video -- still has the power to astonish, and his debonair gloom remains seductive. Phrases book. [11], "The Melancholy World Weariness of Godard's Twilight Work", "Film Comment's End-of-Decade Critics' Poll", "Anticipation, ou: l'amour en l'an 2000" in, Letter in Motion to Gilles Jacob and Thierry Frémaux, https://en.wikipedia.org/w/index.php?title=In_Praise_of_Love_(film)&oldid=1002169824, Creative Commons Attribution-ShareAlike License, Philippe Lyrette as Philippe, Edgar's Assistant.