Details for this torrent 

Jean-Luc Godard - In Praise of Love (2002)
Type:
Video > Movies
Files:
4
Size:
700.3 MiB (734317115 Bytes)
Spoken language(s):
French
Texted language(s):
English
Uploaded:
2007-08-29 05:25:37 GMT
By:
clownmonkey Trusted
Seeders:
1
Leechers:
0
Comments
5  

Info Hash:
34BC1A558E8F8503A1F0A3367E19E4BCE6596050




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Like Napoleon returning from Russia with the snow on his boots, Jean-
Luc Godard may here have begun the long retreat from the whimsy, 
the obscurity and the eccentricity of his recent work, to film-making that 
is closer to intelligi- bility and accessibility, and to film- making that 
shows real people for whom real issues are really at stake.

Perhaps most pertinently, he has returned to Paris for the first time in 35 
years, which in the first half of this movie is photographed by Christophe 
Pollock in the most classically beautiful black and white. It is as if those 
streetscapes themselves have gone some way to returning Godard to 
the wellspring of his youthful inspiration. Eloge de l'Amour (which 
translates as In Praise of Love) is speckled with all the stylistic tics and 
naive rhetorical mannerisms that have progressively alienated even his 
most sympathetic audiences. But this, his latest film - a meditation on 
history, politics and love - unarguably has substance and a seriousness 
in its address to the viewer.

The director's protagonist is Edgar, played by Bruno Putzulu, a 
handsome boyish figure, evidently of considerable personal means 
furnished for him by a wealthy artistic family. Edgar is brooding on the 
nesis of a project about love, but is unsure whether it should be a 
novel, a play, a film or an opera. Edgar's hesitancy certainly 
demonstrates a wonderful disregard for the practicalities that harass 
every other mortal artist in any of these media: a very Godardian note of 
semi-intentional comedy. But any dilettante-ish tone is dispelled by his 
intense interest in one of the young women he has auditioned for this 
project, who subsequently commits suicide.

The poignancy with which Godard invests this discovery is coloured by 
the memory of Edgar having met her three years earlier, along with her 
grandparents, resistance fighters who were with De Gaulle in London. 
Edgar, typically high-minded, wishes to consult with them for a cantata 
he is writing about Simone Weil. But some boorish and arrogant US 
producers are there too, attempting to railroad them in signing over 
rights for what is assumed to be a crassly illiterate Hollywood movie. It is 
in this second half, the platform for vintage anti-Americanism, that 
Godard switches from his luminous monochrome to a colour-saturated 
video, a mischievous épat .

This film has the air of a celluloid commonplace book, a forum for 
Godard's fragments and doodlings about love and history - fascinating 
in many ways, and pregnant with meaning, but often frustrating. Edgar's 
reading in the classics has given him a taste for the epigram. "Most 
people have the courage to live their lives," he ponders, "but not to 
imagine them." A brilliant aperçu, but one we have to pay for with 
yards of maundering and meandering. Both Godard and Edgar are in 
search of the meaning of adulthood, that intensely realised period of self 
between the homogeneity of childhood and old age: it is a time in 
which the individual's relationship with the constituent and determinant 
factors of history are most fully realised.

Director and protagonist find their pivotal shift towards these political 
determinants in a happily chosen line from Georges Bataille: "The 
antithesis of the loved one is the state whose sovereignty takes 
precedence." This oppressive "state" finds, for Godard, its apotheosis in 
the United States, which he excoriates as a place without history - a 
place that tries to appropriate others' history: typical Yankee intellectual 
imperialism.

This is bolstered with some very unconvincing bluster about Sarajevo, 
Kosovo and Vietnam. Since September 11, of course, the debate about 
"anti-Americanism" - a respectable dissenting viewpoint, or crypto-
racism and schippiness? - has attained a new currency. But Godard's 
blundering, dated naivety is not exonerated by any of this: he behaves 
as if France had no history of colonialism.

For all this, his observations about American cultural imperialism are not 
without wit. His characters find themselves, at one point, standing in front 
of a movie poster for Bresson's Pickpocket, next to one for The Matrix. 
Later, Edgar reads aloud from Bresson's Notes on the Cinematographer, 
a passage about the primacy of stillness and silence, and some 
children come to the door, in historical dress, petitioning for state funds to 
dub The Matrix into Breton!

It is a very arch mode of drollery. Perhaps more striking is that great shift 
from celluloid monochrome to video colour. It could be a comment on 
the nature of modernity, but the shift is for going back in time. Perhaps, 
Godard is humorously implying, black-and-white photography is the 
most fiercely modern invention for representing reality: after all, no-one 
had thought before that of painting in black and white. At all events, it is 
a coup of a sort and In Praise of Love, like a cinematic poem, is a 
difficult work, sometimes baffling and redundant, but often challenging 
and affecting.

Philip Bradshaw, THE GUARDIAN
 
http://film.guardian.co.uk/News_Story/Critic_Review/Guardian_Film_of_the_week/0,,603869,00.html

My rip!

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Audio Bitrate Type ("CBR" or "VBR"):            VBR            
Audio Channel Count (e.g. "2" for stereo):      2           


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Comments

Thanks a lot. Have not seen it yet. I just bought the dvd for 5 HK $ a month ago at Cheapy in Kowloon. (50 cent ?) . Could not resist a Godard for that small amount.
thnx a lot.
thanks for sharing :)
please seed you guys. :(