Contempt

The cinema of Jean-Luc Godard has always been self-reflexive, which allows Godard to act as an explicit commentator upon his themes. Yet his obvious visual and philosophical acuity do not always translate to fascinating films, as Alphaville can attest to, at least in my opinion. Thankfully, Contempt (1963) exists as one of Godard's very strongest entries in his oeuvre.

The title derives from the ambiguous yet unrelenting contempt that Camille Javal (Brigitte Bardot) fosters toward her husband, novelist/screenwriter Paul (Michel Piccoli). When Paul signs on to help rewrite the script for Fritz Lang’s film adaptation of the Odyssey by producer Jeremy Prokosch (Jack Palance), he unwittingly commits a loss of integrity and selflessness, which Camille internalizes alongside Paul’s reckless deserting of her in the hands of Prokosch. From there, Paul strives to maintain a marriage that is quickly dissolving.

Yet no Godard film is truly that simplistic. This film, as with all of Godard’s works, takes a cue from Brechtian practices and exposes all of its meta and narratological mechanisms so that the audience becomes cognizant of the film’s conceits, yet, because Godard is so ingenious in his handling of the material, these divulgences heighten the film’s experience rather than detract from the overall experience. See especially how he manipulates sound when Paul and the others converse while watching a dance, as well as the excellent climax, which subverts and rewards us simultaneously.

Moreover, Contempt continually avoids genre expectation, such as when he introduces a gun into the film’s scenario, yet never reduces himself or the film by actually relying on the weapon. Instead, he subverts our expectation by utilizing our long-understood notion of plot elements against us. Overall, though, Contempt works best as an analysis of a man struggling to make any and all sacrifices in order to salvage a marriage, even when he does not understand why he wife is so contemptuous to him.

Along with My Life to Live, this is one of Godard’s most perfect films, and is mandatory viewing to anyone at all interested in cinema.

Contempt: 10/10