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In Praise of Love (2001)
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Reviews Counted: 71
Fresh: 37
Rotten:34
Average Rating: 5.7/10
Theatrical Release: Sep 6, 2002 Limited
Box Office: $38,844
Synopsis: Jean-Luc Godard has returned to the existential, surreal world he mined in the 1960s with IN PRAISE OF LOVE, which was up for the Palme D'Or at the Cannes Film Festival and was chosen as the closing film for the 39th Annual New York Film... Jean-Luc Godard has returned to the existential, surreal world he mined in the 1960s with IN PRAISE OF LOVE, which was up for the Palme D'Or at the Cannes Film Festival and was chosen as the closing film for the 39th Annual New York Film Festival. Godard's film is about nothing and everything as a man continually speaks of his "project," with many of the characters conversing offscreen in fabulously vague and confusing parables and platitudes. The plot comes in bits and pieces, in memorable shots and bizarre scenes: a man reads a blank book; an attractive woman passes by a car and flashes the passengers; Hollywood wants to buy the story of an older couple who fought in the French Resistance; and such familiar Godardian themes as death, art, politics, and religion are discussed, however anamorphically. And then, suddenly, the 35mm black-and-white film is awash in reds and oranges as Godard switches to color digital video when the story goes back two years into the past, and the camera starts and stop, freezing on various shots, then moving on. As with the best of Godard, IN PRAISE OF LOVE is challenging, difficult, nonlinear, and wholly original, so unlike anything else. [More]
Starring: Bruno Putzulu, Cécile Camp, Jean Davy, Françoise Verny
Starring: Bruno Putzulu, Cécile Camp, Jean Davy, Françoise Verny, Philippe Lyrette, Audrey Klebaner, Jeremy Lippman, Claude Baignières
Director: Jean-Luc Godard
Director: Jean-Luc Godard
Screenwriter: Jean-Luc Godard
Studio: Manhattan Pictures International
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Reviews for In Praise of Love
Love, in Godard’s case, is indistinguishable from cinema and thus he sees the growing capitalist machine as a threat to both.
Free-associative, unreasonable and stubborn, unresolved, and elegiac in tone, In Praise of Love is a great meditation on memory, aging, and love.
What keeps me coming back to a filmmaker I never warmed up to, is that I find the rascal irresistible.
Ultimately, though, In Praise of Love is about themes, about the anti-Hollywood sentiment that Godard feels so passionately about, and this is where the film begins to crumble.
Godard has created such a hermetic, uncompromising world that only the hardiest cinematic spelunkers are likely to appreciate its depths.
A haunting, intense work, intellectually exploratory yet too emotionally acute in its melancholy to be considered merely academic.
The movie's ripe, enrapturing beauty will tempt those willing to probe its inscrutable mysteries.
When a character comments 'too many changes are in the air that lack a means of expression,' one senses that Godard, at 72, is still struggling to communicate those changes through the medium of film.
The 70-year-old Godard has become, to judge from In Praise of Love, the sort of bitter old crank who sits behind his light meter and harangues the supposed injustices of the artistic world-at-large without doing all that much to correct them.
Gone are the days of an exciting existentialist movie mastermind who once knew how to stroke the consciousness of the enthusiastically challenged, adventurous moviegoer.
Gives the impression of a man who has lost his will to make movies, and even to go on living, a sentiment difficult to empathize with without likewise giving up on life.
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