Rating: 
Summary: Awesome Godard. One of his most accessible films
Review: I've seen most of Godard's films and this is my favorite. Sure, you have to watch it a few times to figure out a lot of it, but that's Godard. Eddie Constantine plays a Phillip Marlowe-type character doing battle in a sci-fi Paris controlled by a giant IBM computer. Absurd and clever; bizarre and mind boggling.
Rating:
Summary: The Ultimate Film Noir
Review: Imagine someone like David Lynch being hired to make the next James Bond film. That is analogous to what happened with Alphaville. Alphaville is part of a series of movies starring the character Lemmy Caution which was popular in France. But instead of churning out more of the Sam Spade/Humphrey Bogart inspired film noir typical of the series, Godard made something completely unique.All the same themes of traditional film noir are found in this movie. However instead of having the hero trying to maintain his sense of morality after falling for an amoral woman, the hero in Alphaville instead encounters a whole society which is amoral. And instead of just solving a crime, Lemmy Caution challenges a whole system of thought. Lemmy drives in his Ford Galaxie to Alphaville, another planet which is ruled by a computer obeyed without question, and which is an interesting blend of the (then) past and the future, although the film also clearly takes place in the late 1950s. His mission is to either capture the scientist who invented the computer and bring him back to the "exterior", or else kill him. Lemmy soon encounters a society that is completely amoral because it follows the dictatorship of logic. Individuality is subsumed by the needs of the community. The word "love" is no longer understood, partly because it is no longer listed in the Bible/Dictionary which is constantly being revised. Nor do the people understand the word "why" because they do not question the logic of the computer which controls every aspect of their lives. Of course, as is typical with noir, Lemmy falls in love with the scientist's daughter, and his mission becomes secondary to his relationship. However, also as is typical, it is this relationship which helps Lemmy succeed in his mission. Interspersed with the action are interesting philosophical speeches by the computer. The computer develops an interest in Lemmy because it is confused by him and his alien concepts, resulting in interesting conversations. Eventually Lemmy triumphs over the coldly logical society of Alphaville by introducing eternal concepts like love and happiness which exist beyond cold logic into the system, much like how Sam Spade defeats scheming females through a display of tenderness and his adherence to his own morals. Thus even while Alphaville's portrayal of post-war society is in many ways grimmer and less individual than most film noir, Lemmy's triumph is far more complete than any of Sam Spade's because his victory goes beyond mere personal triumph of his own moral principles by redeeming society. Filled with great sets, photography and acting, and some wonderful surreal touches, this film is an interesting optimistic alternative to Orwell's 1984, and should be enjoyed by any serious fan of science fiction or film noir, or of just plain great filmmaking.
Rating:
Summary: The Beauty of Individuality Exemplified
Review: It is a rare thing to see a film that not only shows one what life is, but espouses a concrete vision of what life should be. Even more rare is a film which does this by situating characters in a world where one would not want to live thereby isolating the very essence of what makes on human. Godard's Alfaville not only accomplishes this feet but it creates an artistic embodiment of all that true individuality stands for. More potent than 1984 and just as beautiful as novels such as Atlas Shrugged, Alfaville shows one who is willing to watch and listen the true value and purpose of freedom and the ominous results when that freedom is removed from their lives. The music, cinematography and overall directing could only be done by an individual who's sense of life is majestic and bordering on, if not completely genius. This is not only great science fiction but it is art at its highest ideal, a work that makes me proud to be human.
Rating:
Summary: The Eternal Theme of the Individual VS The State
Review: It should not surprise anyone that a film from Jean-Luc Godard will invariably attract the usual assortment of Post-Modernist, ethically and politically retarded, anti-Western afficionados. Some of that can be seen in the reviews for this film, both on this page and throughout the Internet. The truth however, is that while Godard was a borderline socialist and critical of the supposed decadence of "America", he was more of a heroic individualist than anything else and his pre-1970 films all demonstrate this fact. Alphavile is without a doubt, his greatest achievement and it is a work that speaks of an artistic sensibility all but lost in the France of today, which is overun with rampant anti-intellectualism and a worship of un-reason. Godard takes the Bogart-like "Lemmy Caution" character out of his former slew of 40/50's French spy thrillers and puts the very same character into a future where a technocratic dictatorship exists. In doing so, the very best idealism of American pulp-fiction is given back its soul by a French director, Godard, who truly was interested in the world of ideas. This film not only shows why a totalitarian state must be destroyed, it also demonstrates some key philosophical concepts in the process. Through Godard, we learn that it is language that first must be assaulted before one can enslave man, then mathematics, then history and finally, the human mind itself. We can see parallels to this line of thinking through the world today and yet, how ironic that it is today's France that probably best embodies Godard's nightmare come to life (for a Western democracy of course). The cinematography of Alphaville is superb, as is the musical score by Paul Misraki which is one of the finest I have experienced, for it reaches its crescendo with the most important line in the film, almost as an answer to a question. The theme of Alphaville is simple enough - the Individual against the State, but the soul of Alphaville reaches higher to a level where Man is sanctified against all intrusions on his life, liberty and happiness. Anna Karina plays the part of the Ideal Woman still capable of feeling and understanding the value of love and that immortal word that may still one day save humanity - "I". It is a rare thing to find a work of art that speaks so eloquently to the sublime beauty of Man, Humanity and Individualism. Godard does this and more in Alphaville and for that, he should go down in history as one of Europe's finest artists. Note - One would need to watch this film about 3 times to completely grasp every important nuance. Also, Anthem and 1984 are good reads along the same vain.
Rating: 
Summary: Ultimate film for quintessential pseudos
Review: Jean Luc Goddard presents a brilliant look at an Huxleyian future, with comedy made uncomfortable by a callously violent society. All this with an Occam's Razor stance concerning special effects.
I purchased this film without having ever seen it prior, and was not disappointed. 'Blade Runner' and 'THX-1138' owe much to this film, much as many great films following would necessarily have to. Even the wonderfully clumsy science fiction of 'Logan's Run' is reminiscent in spots.
The story is properly disjointed, and keeps the viewer off-kilter even to the very end. The 'hero' is as much an 'anti-hero', and his purpose in the film is as necessarily vague in direction as the society that surrounds him. A veritable cinema verite romp through Goddard's bizarrely violent and humorous world. Highly recommended to fans of films already mentioned, as well as fans of 'Dark City', 'City of Lost Children', and many other such futuristic visions of inner-city dwelling.
Rating:
Summary: Jean Luc Goddard's triumph over Science Fiction
Review: Jean Luc Goddard presents a brilliant look at an Huxleyian future, with comedy made uncomfortable by a callously violent society. All this with an Occam's Razor stance concerning special effects.
I purchased this film without having ever seen it prior, and was not disappointed. 'Blade Runner' and 'THX-1138' owe much to this film, much as many great films following would necessarily have to. Even the wonderfully clumsy science fiction of 'Logan's Run' is reminiscent in spots.
The story is properly disjointed, and keeps the viewer off-kilter even to the very end. The 'hero' is as much an 'anti-hero', and his purpose in the film is as necessarily vague in direction as the society that surrounds him. A veritable cinema verite romp through Goddard's bizarrely violent and humorous world. Highly recommended to fans of films already mentioned, as well as fans of 'Dark City', 'City of Lost Children', and many other such futuristic visions of inner-city dwelling.
Rating:
Summary: Entertaining, and philosophical
Review: Jean-Luc Godard, the most experimental and influential filmmaker from the French New Wave, made this film in 1965, about an out of control, totalitarian, scientific, logical society. Lemmy Caution, a spy from the outlands, comes to Alphaville, under the name Ivan Johnson to investigate. He discovers a society run by a supercomputer Alpha 65, and populated by brainwashed drones, where love, art, and emotions are against the law. Lemmy gets involved with Alphaville's top scientist's daughter. He helps her discover her true human nature, they fall in love, and together they fight the leaders of Alphaville, and Alpha 65 itself. The film is fast paced, reminiscent of crime thrillers, and of sci-fi dystopians such as Blade Runner. The film examines human nature, and the redeeming value of love, and spirit, over mind, and material. The film is both very entertaining, and philosophical, that rewards multiple viewing, that offers new insights. I recommend this very much. 5 stars.
Rating: 
Summary: Zeroville
Review: Lemmy says it best when he tells Natascha "This is Zeroville." I had looked forward to seeing this film after the glowing reviews by those who claimed it "tackled" tough topics, and "sent critics running." Well, I guess I am among the critics. There's nothing mysterious about this venture, except the worship of it. It's a windy tale of love versus technology. Love wins. Yay! In between, a computer who sounds like Sartre after a tracheotomy narrates weak poetry. What an overblown sack of hash.
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Summary: In regards to Alphaville's full screen 1.33:1 format
Review: Like the reviewer above, I was puzzled as to why Criterion would release this film in full frame format when everything else about the edition seemed so meticulously struck, so I thought other people might be interested in Criterion's explanation as to ask why this DVD copy was in the full frame format. Even though Criterion released the so called widescreen edition previously (1.66:1 letterboxed), each time they re-strike a new product, they will continually consider how the specific movie is supposed to be seen. What I was told was that even though most Europeans probably saw the 1.66:1 widescreen version in the theaters when it was released, it was their belief through a lot of research and interviews, that Godard framed, and meant for the film to be in 1.33:1 - and it was the releasing company that decided on the 1.66:1 format themselves. They told me at Criterion, that neither is necessarily wrong, but that they decided to go with what they believed most suited the vision of it's maker. I bought the DVD after hearing their explanation, and you will most likely agree with them when you view this version. From the balance of titles and words on the screen, to the way that shots are constructed (such as a sequence which is obviously intentionally composed of only gesturing hands on the edge of the frame during a conversation) I think their argument is right on the mark. Remember in this season of widescreen fever, it shouldn't be widescreen for the sake of widescreen, but to present the thing the way it was intended to be seen.
Rating:
Summary: Stop listening to Leonard Maltin
Review: Mr. Maltin wouldn't know a good movie if it was fed to him. He's too simple-minded to know _how_ to praise "The Bicycle Thief" (see his review on Amazon.com), and too easily bored to appreciate "Alphaville." Godard has created an entire world with language and gestures. Rather than invest in special effects that will look dated in a few years (i.e., James Cameron), Godard presents Brave New World as a 40's detective picture. It is about life in the 20th century in the same way Orwell's "1984" was about life in 1948: art built from the worst fears about what life is becoming, and the hope of human traits that may still thrive under such pressure. "Alphaville" has the low-key acting usually seen in Godard's films, and the effect always fascinates me: in a single scene a performance that seems to be a joke about cinematic artifice also has an emotional impact. This is rare; directors and actors are often after either naturalism or histrionics, and while some actors brilliantly achieve both with more "over the top" performances ("Who's Afraid of Virginia Woolf?"), Godard appreciates quiet introspection in an actor. Eddie Constantine is a poet, philosopher, and a violent thug, and Anna Karina is a poised robot slowly discovering her own humanity; both actors communicate through subtle expressions and soft-spoken questions and answers. Robert Mitchum and Veronica Lake would have been right at home in this film; it's a shame more reviewers don't understand this. "Alphaville" is several films at once: a study of American film noir (a genre mainly discovered by French writers) from a director who understood the rampant pessimism that characterized it. It is also a chilling nightmare about freedom vs security, and as a film of the 60's it is about modern culture becoming postmodern, a hilarious joke told calmly through clenched teeth. Alphaville is a brave film. This DVD is odd in that it didn't appear letterboxed on my TV, but 1.33:1 isn't a very wide screen. Still, the VHS release is clearly letterboxed. Odd. In some places (right at the beginning) I thought could see blocky artifacts, as if the film had been poorly digitized for this release. Other than that, the picure and sound were beautiful and clear, and the ability to turn off the subtitles is great; once you've seen it a few times you can turn off the English translation and let the movie wash over you. Highly recommended.
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