Friday, 8 December 2017

Contempt (Le Mepris) (1963)

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Even dealt the best cards imaginable, Godard can still mess up a movie.

The Book always promises me heaven when presenting Godard movies, but I have learned the hard way to mistrust it. In the case of “Le Mepris” (Contempt) the factual elements are so promising though, that I dared a little hope. Could it finally be that Godard would give me a movie to make me understand his fame and why movie critics wet themselves over his movies?

This time Godard gives us Brigitte Bardot as his lead actress. That counts for a lot, if for no other reason but the massive sex appeal surrounding her. For those unfamiliar with Bardot, she was the hottest girl of the period. Even in my childhood, in the eighties, when Bardot had turned into a strange cat woman, people talked about her with awe and in the “Le Mepris” we see why. Godard miss no opportunity to show her off to her best advantage, with or without cloth.

We also get a movie, ostensibly, about making movies, with Fritz Lang as himself and lots of references to other, famous movies. There are plenty of shots and talk about the movie making process and even some jokes about the pretentiousness of making art movies. This should be good.

Colors are beautiful, music is great. Actually better than just great. What could go wrong?

Well, incredible as it sounds it all comes to nothing.

First of all there is no plot and hardly a narrative. Paul Javal (Michel Piccoli) is a French writer who has moved to Italy with his pretty wife Camille Javal (Bardot), a typist, to write screenplays. He is meeting with an American producer, Jeremy Prokosch (Jack Palance), who wants him to rewrite a script for his new movie, a movie on the Odyssey, directed by Fritz Lang as himself. Jeremy is an arrogant womanizer and Paul casually throws Camille into his arms. Camille is hurt by this and for the major part of the movie they have an ongoing slow-burn argument going on about it.

The argument is largely pointless, based on (deliberate) misunderstanding and selfishness, throwing in some clichés about men not understanding women and vice versa. Finally, they go to Capri where the discussion continues and ends with Camille walking out on Paul together with Jeremy.

It is dull, pointless and stupid. I lost interest after 10 minutes and it never picked up. Yes, Bardot has a pretty butt and yes, it is nice to see Fritz Lang, but, really, what is the point? Watching people have silly arguments over whether they love each other is neither profound nor interesting, it is not even dramatic, just immensely juvenile.

Godard is also wading around in stereotypes. Jeremy Prokosch is maybe the worst as an arrogant, self-indulgent American producer, the image a European would have of a such. He is totally disconnected from his surroundings if it wasn’t for his translator Francesca (Giorgia Moll), yet he acts as the man in charge. Paul has to be the quintessential screenwriter, always wearing a hat and with ambitions of something else and Lang has to be the auteur with disdain for his script and his producer. It makes me wonder If I have been watching a satire, ironizing over the world of moviemaking, but if so, it is a wry and dull satire and certainly not a fun one.

The ending, I was told, would be shocking. I could not wait for that jolt to shake me out of my stupor, but alas, it was entirely as pointless as the rest of the movie.

As such, Godard managed to take all those promising elements and flush them down the toilet, giving us something as pretentious and empty as what he seems to be criticizing. Pretty girls and luscious colors can never save such a mess. Godard, je n’ai que du mépris pour toi.


  1. We are in complete harmony on this one. Unfortunately for me, Godard had a very productive 1963 with two other movies also on my list. I want to skip them but am torn because they are highly rated - but then so was Le Mepris.

    1. I wonder who gives those ratings, and why? I am happy I am done with Godard for 1963.