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Summary: THE MOST OVERLOOKED GODARD-MOVIE!!!!!!
Review: It is the one of Jean-Luc Godard's most evil and anarchic movies.Till the middle part I saw the movie with a laugh, but was shocked at brutal violence in the end. Godard expressed cannibalism, slaughter, blood, traffic-accident, and pornography with no hesitation in the movie, and maximized a violent sneer about bourgeois society effectively using black comedy. GREAT!!!! He's a marxist?????
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Summary: a few extra cans of film
Review: Jean luc is at it again. This time he shows his utter hate for his audience by presenting us with nothing just to see how we will again call him a genius.
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Summary: One of the most fascinating of Godard's new wave efforts
Review: Jean-Luc Godard's film Week End is loaded with his obsessions with outrageous characters, political and philosophical ideas, and so on, and many viewers have claimed this to be a full on political film. From what I could gather after seeing a poor yet manageable copy of this film, I saw that this is possibly his best effort in terms of abrasive, surreal though bravura directing. He leaves the camera on his characters, with their flaws almost shining off them (which serves as an asset in some scenes), and yet most of the time it feels like he's directing a comedy of these events- comedy of errors. Consider the scene where the woman has the monologue in her panties and bra, how she leads up such telling, informatory details to a payoff that gives as a reminder of the Walken scene in Pulp Fiction (though he is the better actor). Or in other times the comedy is in the sense of a Godard satire of his past work - the traffic set piece(s) gets the viewer to feel in the mood of the car he so pacingly follows, even as it becomes relentlessly obnoxious and tense, and acts like every other driver on the streets of the cities of America. However that, and a moment of argument over a corpse in the passenger seat (he cuts to the faces of the onlookers who happen to find such dialogue rather amusing), show by the time Godard reached this stage in his career he wasn't taking himself and his work 100 % seriously, though that's not to say that the element of the woman's path to guerilla-hood isn't a serious topic. For his art film die-hards he also uses a peculiar, non-linear style in story-telling- an added advantage for a week-end timepiece. I'm reminded of Fellini (as I was while watching another Godard film of recent, Contempt) in one aspect of the picture, in terms of how he portrays his women- he can love them, ignore them, belittle them, or even glorify them in the most drastic of measures, but he can't control them. One also wonders if this is how he just makes it for his films, or if in real life the women of his life were really this (how do I put it) out-there. The script occasionally veers off on it's tale of a couple going on a disastrous week-end out for stretches of poetry, discussion, things that don't have much to do with the story, and yet there's a catching, eccentric, melodic aura to these scenes and passages. These kinds of scenes make it perfectly clear that Godard has created an original work here, one that may put off audience members who "don't get it" or expect total sense in the outcomes. Certainly a movie made for it's time, country of origin, and target group. To sum up my review let me put it this way - this is the kind of picture that would've heavily influenced The Doors.
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Summary: excellent pig-snuff movie
Review: Ominous, austere/surreal, shocking and VERY PSYCeDELIC...the soundtrackscore features nasty violins which obscure dialogue like it's for a completelydiff- movie :works like magik darkly-funny and unsettling at the SAME TIME!! Definitely one of THE GREATEST MOVIES EVER. Dialogue w/ girl on desk is quite perverted +subtitles add an element of black-humour.There is a lot of marxist political"speeching"Tends to bore people hwever it allows fr breathing space time to take drgs and flip out. nothing is normal here .STORYthe parisianprotagonists take along drive to 'visit' their mother who they eventually kill, covering up her death with an inconspicuous plane crash in the countryside
they meet many differentfreaks along the way.includes a real live pig getting snuffed out and A SKINNED BUNNY HEAD covered with oozing blood.great drummer! Filmed in primary colours.a very original film with a predominnt mood of DECAY. not for everyone but a must-have for the discerning mindxpander. not your typical art movie.
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Summary: An Outstanding Film--But Not for Everyone...
Review: The review on this page which claims that Weekend is one of the worst films ever missed the point and was not apparently, given the reviewer's qualms with the movie, the intended audience for the film. Weekend marks Godard's nearly-formal break with "bourgeois film-making," i.e., film-making which has as its sole criteria to "entertain" (as in escapism), to engage in linear story-telling, and to reinforce film cliches, formulas, and all the trappings of popular western (and especially American) film-making. In the movie, the audience witnesses the collapse of the narrative, the disintegration of formal film technique, and--more literally--the degeneration of western civilization. A ten-minute-long traffic jam, the barbarism of pig slaughters and corpses littering the countryside, and the unsympathetic characterizations of the bourgeois couple on whom the film centers (if it does indeed have a center) have not been filmed to entertain, to comfort, or to lull the audience, but to provoke thought, to engage actively, and--quite possibly--to enrage actively as well. Arriving at a conclusion, being "pretty" or emotional, or arranging details tidily would defeat the purpose of Weekend, which is to illustrate incoherence, savagery, and decline. And, in this regard, perhaps no film has better tampered with the status quo of film-making than Godard's Weekend has. Also, it must be remembered that Weekend is a reflection, to a great deal, of the turbulence of the sixties, and in particular the student protests in Paris in 1968. Marxism may seem to its modern audience to be passe and irrelevant, but at the time, it was still a viable "direction" for many countries--which does not of course imply Soviet communism or the communism of Mao, but a more orthodox marxism of Marx himself. In short--and of course this review has been anything but short--Weekend is a powerful, decadent, and innovative piece of work which seeks (or sought) to elevate film itself to the level of progressiveness that other artistic media such as painting, music, and literature have pursued in the twentieth century under the banners of modernism and postmodernism. It has largely succeeded, but unfortunately, as evidenced by the glut of action films, bathroom-humor wallows, and awkward love stories increasingly popular today, he has inspired only a relative few film-makers to follow in his footsteps...
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Summary: Foolishness on film
Review: This film is easy to describe:
Sophomoric speechifying and utterly foolish.
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Summary: Solid moviemaking
Review: Weekend is great. At times it seems a little too excentric and not the best movie I have ever seen, but overall a very original movie made by a master of moviemaking
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Summary: The dangers of French Bank Holidays!
Review: With influences ranging from Freud to Marx, De Sade and Eisenstein having walk-on roles and the Parisian weekend transformed into an allegorical bourgeois hell,
Week-End is one of the defining films of the 20th Century. Born out of the nouvelle vague cinema (French New Wave), this is the terrible birth that is brought to light from J.L.Godard's obsession with prophesising the destruction and decline of the West. Even after taking into account his overt political messages, Weekend still exist as one of the most technically revolutionary pieces of cinema to emerge from his studios into a blinding glare of publicity and hostility. Not content with depicting the destruction of western commercial values, Godard disrupts the visual narrative by interspersing film titles, book titles and music onto a background of patriotic red, white and blue colours. From a personal perspective, one of the most impressive sequences is an eight minute long tracking-shot of the Parisian highway which progresses from straightforward traffic jams to car-wrecks and the inevitable symbol of multinational Capitalism, a Shell oil truck. Essentially Week-End marks the 'Maoist period' of Godard's film-making career, during which he declared that 'the only way to be a revolutionary intellectual is to give up being an intellectual.' Starring Mireille Darc and Jean Yanne, Week-End's fabular narrative is a weekend journey from Paris to Normandy which slowly becomes an apocalyptic struggle against the French peasant revolutionaries who continually intervene to prevent the couple meeting Darc's mother in order to find out whether they have successfully poisoned her father. This emblematic quest for the Capitalist Grail is hindered by a philosophising character from Dumas, two rebels (African and Algerian) masquerading as refuse collectors and Saint-Juste, before the couple are captured on their return to Paris by the Seine-et-Loise Liberation Front, a group of cannibalistic freedom fighters. Godard's continued affinity with politics can be witnessed in his other Maoist films, Les Chinoise (1967), Le Gai Savoir and Tout Va Bien (1972). Despite accusations of pretension, he still remains one of the most provocative and influential film makers of his and future generations, whilst his immense cinematic output can be regarded as a Marxist biography of the previous century. What was an initially ground-breaking piece of cinema has evolved into an essential European film. Heralded by Pauline Kael in the New Yorker as 'Godard's Vision of Hell, and it ranks with the visions of the greatest' and 'somewhere between Swift and Samuel Beckett, alternatively violent and tender, humorous and cruel' (Jan Dawson, Sight and Sound) Week-end is a film that must be seen to be believed and to miss this is to miss out on one of the spectacles of 20th Century cinema.
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