The Girl who Fingered the Frenchman

The 32-year-old maid told authorities that when she entered his spacious, $3,000-a-night suite early Saturday afternoon, she thought it was unoccupied. Instead, Strauss-Kahn emerged from the bathroom naked, chased her down a hallway and pulled her into a bedroom, where he sexually assaulted her, New York Police Department spokesman Paul J. Browne said. (HP)

Ah  France, the big scandal erupting with Dominique Strauss-Kahn is a reminder that where there's liberty et fraternite' there are also sleazebag rapists in high places. The attack (ED NOTE: It's since been downgraded to prostitute-blackmail scam) happened in a New York hotel, and maybe its my city pride that makes this story resonate as a great David and Goliath style upset, something the Millennium Trilogy could be proud of, and might even be a little bit indirectly responsible for: the word of a rattled immigrant hotel maid was enough for our cops to pull this high roller Frenchman off a first class plane and throw him in the clink. Word is finally out: clergymen and politicians are the sex maniacs of our age - believing the word of the victim is the new black!

To see more? Cinema, naturalmente. The above attack sounds very plausible, in fact I've seen it in at least two films, and recently: Asia Argneto's SCARLET DIVA (with a crazy producer played by artist Joe Coleman chasing Asia down the hotel hallway in Paris, naked but for cowboy boots, ah, Cannes! - my in-depth discussion here) and Vince Gallo attacking a Paris hotel maid in TROUBLE EVERY DAY (above, here). The evil men of power in GIRL WITH A DRAGON TATTOO and the Millennium Trilogy are apparently in France now that said girl made it too hot for them in Sweden (see my piece on Bright Lights, 'The New Lurid: Cinema's Rape Disavowal Fantasy').

But what of other locales in France, outside Paris, ala the French countryside? This seems to be a pretty terrible place, where vast stretches of emptiness allow slavering mutant sexuality to flourish. A group of normally upstanding males commit a horrific gang rape when they realize a woman is living alone in a stone house by a remote stretch of French country road in ONE DEADLY SUMMER (1983), with the victim's daughter (Isabelle Adjani) enacting an elaborate revenge. One of the most infamous onscreen rapes ever occurs in the French film IRREVERSIBLE, though that's in the city, and for the purposes here, let's focus on the countryside and its role as a space outside normal societal norms. Indeed, in this array of films, the French countryside is a place where no one can hear you scream, and no law can come to your rescue with any quickness. Men must stand on their own good conscience, and many do not. Remote areas are a creep's power source as much as above-the-law titles like politician and priest, but the ambiguity and self-reliance goes both ways. All is not always what it seems.

Take the 1970 British film about two birds cycling on holiday through rural France, AND SOON THE DARKNESS. Over at Britmovie, Drew Shimon cogently discusses the film's ability to create suspense without much overt violence or even actual dark:

Ironic, really, for a film bearing the title And Soon The Darkness, that practically no darkness is actually seen throughout, but such things are part of the strange fascination of British horror: in Die Screaming, Marianne for instance, Marianne neither dies nor screams, and in Whoever Slew Auntie Roo, the identity of the slayers is in no way a mystery to the audience. What it doesn’t deliver in honour of its title, though, it makes up for by exceeding every other possible expectation.

I was led to expect this film would be really disturbing, ala THE VANISHING, which is why I steered clear for so long, but it's actually just suspenseful, sexy and awesome. Also, if you know any French at all, you get an inkling of the identity of the rapist-killer early on, and the savagery of rape as depicted in GIRL or something like I SPIT ON YOUR GRAVE (see my 'Towards a New Cinema of Castration: I Spit on Your Grave and Only Angels Have Wings') is absent, replaced by the gross caricatures of lust you get in Japanese pinku films: the eyes of the rapist bugging, lips snarling in deformed adolescent exaggeration, tongue wagging obscenely... what's to get traumatized by? Especially as these are more symbolic renderings, you never get the sense these guys getting very far, mostly humping air like a dog-- but it leaves one confused. If it's not meant to be harsh and repulsive ala SPIT or GIRL than what? A chance for a woodsman to ride to the rescue? A moment of kinky objectification? Or a moment to have the ugliness of base id-lust rubbed in our face as a cautionary tale? I muse on this at length in my cogent 2010 celebration of FEMALE CONVICT SCORPION: JAILHOUSE 41, Stung by the Belle. 

DARKNESS gets a lot of mileage out of short skirts and dried patches of grass, a spooky bunch of woods (hedgerows?) in the middle of vast empty fields, the gradual setting of the sun (it all occurs over the matter of a few hours), the onset of clouds and rain, and the vast language barrier between a holidaying Brit girl and old French gas station workers. In such a tranquil setting, the sexual violence seems almost quaint, a mere flaring up of an old forgotten splotch of vile repressed desires left too long untended in the fields. Because the film works, as Shimon says, without the darkness promised (and soon, like CCR's someday, never comes), it escapes our condemnation, but there's an aftertaste of sleaze that lingers on. But hey, it's on Netflix streaming! So is the remake! Avoid the latter!

Also on Netflix streaming, all of a sudden!-- is a bunch of Jean Rollin films, including REQUIEM FOR A VAMPIRE (1973) Read Ethan Spigland's essay on the film in Acidemic #6, here to get the lowdown on the film's use of the uncanny and Georges Bataille. Using what looks a lot like the same road from DARKNESS, this film follows to young naifs in clown costumes who wind up lost in the wilderness, eventually abducted by a castle full of old debauched vampires and their slavering rapist underlings. The girls are sexually attacked, briefly, and then forced to watch, hypnotized, as various girls chained in the dungeon are raped in the usual slavering, grotesque but bloodless, bruiseless, Sadean, in a very abstract and philosophically relevant... way.

Intellectual S/M still boils down to the most sleazy of crimes against empathy, and if anti-pornography advocates are right, there's nowhere else left to go but to that wretched basement. Once the consumer of the image has let himself become dehumanized via the suffocating access to so many images, the image suffocates as much as the proximity of the other. Rape fantasies are actually common in both sexes, but as I noted in my BL piece defending the Twilight films from anti-feminism charges, "Someone to Fight Over Me,"

Rape is not called rape when it's in romantic fiction; it's "ravishment" and shouldn't be compared with actual physical rape, which is by definition not "desired" by the victim. The erotic charge of setting a romance in a past era lies with the straitjacket moral code: the only way a woman can keep her honor is by resisting both the man and her own desire. She indirectly invites the overpowering on herself as a means of sidestepping issues of her feminine integrity and honor, and the uncertainty of responsibility over one's actions. This is not weakness on her part, but an intrinsic understanding of what's truly erotic about societal loopholes. She has the strength it takes to surrender and go limp in a man's overpowering arms, and she gets exactly what she wants out of it and nothing more.(more)

Another interesting French film dealing with slavering maniac males in the countryside is DON'T DELIVER US FROM EVIL (1971), loosely based around the same real life case as HEAVENLY CREATURES, but with a lot more teasing of leering male strangers. where the two lead girls are having a holiday. The pair delight in flirting with and teasing passing travelers, but every man they lure into the brush has only two speeds: sexual assault and lusty looking. The men never try to tease back or engage in the girls' weird head games. Instead they remain still, let themselves be teased to a certain point and then snap, becoming insane slavering rapists in a flash. As Kim Morgan notes on her Sunset Gun:

 On Summer break, the girls stick together, staying at Anne's parents home while her family is conveniently away. They ride bikes and flit around in those short cotton summer dresses every guy wishes for when the sun comes out and they laugh -- they laugh a lot. Considering that they're Satanists, the girls are a lovely pair of Beelzebub buddies. Thank goodness they lived in the early 1970s. No manic panic hair, no PVC mini-skirts, no cheap fetish boots and tired, sullen expressions for these best friends. These girls are enjoying their evil. So much that they put together a crafty, dainty black mass in an abandoned chapel (you can feel fellow bad girl Martha Stewart heartily nodding her head in approval). With the dim groundskeeper serving as "Priest," they seal their Satanic deal and drive the man nuts while sitting in the rowboat in the thick of night -- he can see through their cotton Communion gear. (more) 

The key thread I'm fumbling for through all this is the ultimate emptiness of sexual gratification as the be all and end all of power. All that smoke and perfume and grinding strip show razzle dazzle leads to nothing more than an expensive feeling of emptiness behind the wizard's peepshow curtain. It's culture's job to make you forget that post-orgasmic depression, but just as rich women like Winona Ryder may shoplift for a weird thrill, trying to recapture a time when acquiring possessions brought them joy, so the oversexed rich French politician may accost a hotel maid because all else has failed him, and he figures himself above the law, and maybe still thinks he's in some role-play brothel from the night before. Who knows? His world is akin to the one Kim Morgan describes, of "tired, sullen expressions, cheap fetish boots and PVC mini-skirts." But rather than be hypnotized into the world of surfaces and possessions like the men who want to consume them, the girls in the equation are coming from a different place, trying to harness real power--to master their own chthonic sexuality-- to surf rather than dutifully drown, to dare live beyond social roles, mores and the tedious fumblings that pass for modern rebellion. Rather than settle for the $500 they want to try for curtain number trois.

For these sleazy rural Frenchmen, however, all the curtains have long since been open, and they have no more control over their desires than a diabetic smashing his fist through a candy shop window.  It's fascinating to contemplate how a man with so much to lose as Strauss-Kahn would be so careless and crazed. Of course it could be a set-up, created to depose him by his enemies. On the other hand, even if it's true, isn't it still a set up, a trick of desire, of the devil, who rewards the debauched with all the riches of the world at the cost of their ability to enjoy them? Aren't those creepy noblemen in Sade, Huysmans, and Bataille really just depressed from having to constantly up the ante of sadomasochistic sensation, just to feel any thrill at all? Pity them...  jail them and denounce them and even castrate them but pity them, for they are dumb enough to believe the lies of their own dictator hard-ons. They have become dupes of the genetic con and are destined for incarcération... ou paternité. And for what? The sociopath, the narcissist, the sexaholic... who made them what they are? The answer is just the soft sound of French countryside crickets... and the flutter of pages from an old, discarded Maxim. 

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Die like an Eagle: ENTER THE VOID (2009)

ENTER THE VOID is the first drug movie of the 22nd century, so far ahead of its time it's behind it. Centuries from now humans will look at it and laugh: how little we knew of the afterlife, of the fourth through ninth dimensions! Gaspar Noé's warper is the first receding light in the void of what we don't yet know about death. A little over two hours, it's five hours too long. It renders all pornography obsolete, dicing and slicing at fear and desire until nothing is left and everything is revealed. I imagine this film in a room with the films of Americans of similar ballsy-mindedness, like Vincent Gallo, David Lynch, Larry Clark, and Darren Aronofsky--all of whom have a similar push me-pull you thing going with drugged-out sex workers and heartbeat/rapid breath-synched sound walls--and I imagine them all getting jealous and competitive like it's James Dean on planetarium day.  If they were all playing chicken, only Gaspar would have the guts to sail off the cliff.. laughing all the way. Whose car are you going to ride along in, even if it is kind of battered and has those fuzzy day-glo dice? Sometimes day-glo is enough, and guts all over the windshield, and roller coasters, MILFs, MDMA, DMT, GHB, music box Bach, urns, car crashes... No, no, Noé, you had me at goodbye!

The term 'liberation' means different things to different nations, and people, but in every sense of the word there's something liberating about the traumatizing violence in VOID (I'm glad to say there's no brutal rape scene--at least in the cut I saw--so sensitive poetic males like me and the mentally challenged janitor at the end of LAST EXIT TO BROOKLYN can rest easy). That's not to say there's no trauma, but it's a productive kind- the kind you feel at the bottom of a K-hole, or after a day of dry-heaving through the bottom of a four week bender, a feeling it can't get no lower, a feeling you've reached your AA bottom and will be telling of this day for anniversary meetings in the years to come and even though no seaweed mermaid mom taxi will come to take you away down the comode pipes it hardly matters, since absolutely nothing worse can happen to you. It's the blacksmith on the Pequod showing off his epidermis: "I am past scorching; not easily can'st thou scorch a scar." Now you're free of scorching! It's what enables MARATHON MAN to throw a fortune in diamonds at Laurence Olivier. Away, away, into the selfsame sewer sea. And it's Ahab, beckoning you follow those diamonds down. Now that you're free, Tokyo.

Aronofsky reaches for the scars, the diamond-tossing in the heart monitor undertow of THE WRESTLER and the eye-rape editing of REQUIEM FOR A DREAM and the collapsing tent of Marion Crane identity in THE BLACK SWAN, but he's still too American not to flinch or sync his key lights. If he could let all that go, America might finally have as much sex and vacation as France. Instead we get a hungry ghost monkey on our back screeching "show us your tits" at random intervals, chasing all our opportunities away. The fraternité thing enables the French to embrace the surrender, the weening, the realization that chasing your little death down the red light district alleyway, or racing through the airport to give a proper goodbye kiss to your departing Aniston, isn't going to postpone facing the Black Swan demon in the mirror.

The French get the joke, because they know the sting of occupation.  America has not yet admitted complete defeat, while France has done the 12 steps, from Vichy to la Resistance. In World War Two France forked over its lunch money rather than getting its beautiful hair sullied in the pissoir and so they saved Paris from being bombed. Americans fought and died for French freedom, from afar, and read Sartre. "We were never freer than under German occupation," wrote Sartre. He was right. America has never been occupied, so it can only get jealous, cocky, dopey, demonizing, and deny that Sartre's brand of Leopold jackboot Sacher Masoch freedom is worth a damn. Came to believe that a power greater than ourselves could restore us to sanity, that's step one of AA. America's still down to party, why, you got a bottle? We don't have a prollem! YOU godda prollem!

I imagine America staggering like a slow-witted kid trying to find his way out of a candy store, and clearly so does Noé -- otherwise why was it so important the lead characters in ENTER THE VOID be Americans?  And why Tokyo, a land who got its ass kicked in the war, worse than any other, and so learned a few things about not going into the militaristic jingo light blindly just because its pretty like a mushroom (psilocybe, cloud, or shitake --it's all the same in the end).  The Japanese are a people fond of flash and Tokyo under Noé's floating spirit camera becomes a land of pulsing red light district fornications, abortions, drugs, and ratty little snitches who should go kill themselves and do us all a favor. On a double bill with LOST IN TRANSLATION, the meaning of being Bill Murray becomes clear. He's the closest thing our current cinema has to a Bogart, staring into the void of death with a wry smile.

When things actually die though, the French notice. When you surrender, lose your lunch, and lick the boot nice... and clean... then you feel the pain, because you are involved in mankind. You know the bell tolls for thee. You're not afraid to meet the eyes of babes. You can dance if you want to... even leave your friends behind, and use the pole without being stoned as a slut by your peers.

stripper, hold the 's'

Oscar (Nathaniel Brown), our dead free-floating POV in the film is not only a dumb American, but a flatliner, a depressed monotonal zombie hipster. Oscar's stripper sister Linda (Paz de la Huerta) is, however, terribly cute, though she seemed blurry and far away in the film, a condition understandable in the wake of a terrible car crash that took away their parents at a very young age, but inexcusable in the post-modern wake-up world of ecstasy-addled po-mo Nippon. My question then, is this: what kind of dead parents are Oscar's, that they don't come get their son at the pearly gates station when he floats down/up? This film may take place in Tokyo but it's the most searing indictment of American small town hypocrisy since DOGVILLE. Even beyond the grave, parents are self-serving deadbeats.

I knew VOID was something I had to see and review here, but I was dreading Noé's intensity, his glee in exploiting the helpless masochistic gaze, i.e. watching Monica Bellucci get raped and beaten in IRREVERSIBLE. But at least he understands that the film lover's gaze is a ghost, longing to permeate the silver screen and be re/born into the simulacrum via their favorite movie starlet's womb. Aren't we, when dead or watching horror films, forced to watch helplessly as our future mother is killed or sexually mistreated and all we can do is beat on the glass screen door and scream? But though VOID is drenched in fuzzy sex, I found it more sad than sleazy, like both sexes were just biding their time, exploiting each other--enslaved to the sparkling dollar store bardo like UGETSU or EYES WIDE SHUT. Oscar's sister can handle herself fairly well in the trade; it's Oscar's POV that has the issues. Drifting around Tokyo's pinku parlors, orbiting the copulations and floating into light bulbs like Hitchcock's camera might have if it didn't find its way out of the black tunnel connecting the drain with Janet Leigh's pupil in PSYCHO, we never know what his free-floating POV is thinking. We just see what he (or rather his third eye lens) sees. Drawn to the gravity of the flaming sexual heat where reincarnation can occur and he can get back in the game again, he drifts towards any old giant sun egg in which to be reborn, the way we used to walk around outside the Dead shows when we didn't have that miracle ticket, looking for that unlocked fence, that lax security guard... that one shot. Doses... doses.

This essay was really long, but I edited it down, and down, and down. Let me just say that as your doctor I recommend this movie very highly, but if you have panic attacks, epilepsy or nervous disorders, make sure your fully and properly medicated in a legit Rx fashion before entering.  And just remember, wombs may look nice and relaxing from the outside when your ephemeral, but once the placenta busts and the crying starts, it's the same old Hell... I mean heaven! Heaven... sorry god, Christ, and sponsor.

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MADE IN USA: Someone left a Maoist in the Rain

AKA: BITCHES OF '66
"We were in a political movie, which means Walt Disney with blood."

It's exciting times for Godard lovers as two of his 1966 films: 2 or 3 Things I Know About Her and Made in the USA make their way to the few remaining stores next week. Set in "Year Zero" at some Alphaville-esque locale called "Atlantic City," (apparently Suburban France), Made in USA is a great little road marker connecting the dots of Godard's earlier and later pop cinematic narrative deconstructions like Pierrot Le Fou (1965) and First Name: Carmen (1983), the stuff before and after his anti-entertainment unionist phase, providing surrealist wordplay, collage, satire, intellectual critique of the right/left dichotomy, a eulogy for countercultural idealism almost before it starts (May '68 was still a couple years off), and a last waltz for his crumbling marriage to the leading lady, the heavenly Anna Karina (she looks weary, as if she's been screaming at him between takes).

If you've ever basked in the primary pop glow of Pierrot Le Fou and wished Godard had made a whole slew of movies in widescreen color with Karina, guns and anti-American sloganeering, then Made in USA is your film. It delivers the goods while showing you just how much less good such goods are a second time. Made just one year after Fou, it seems as if it's the end of a twenty year run of sequels. Karina's femme fatale is still beautiful but less fresh, less gaminesque. There's no trickster male of Jean Paul Belmondo's manly charisma to balance her star wattage and sex appeal (Jean Pierre-Leaud tries hard to be manic, and maybe that's the problem) and so she has only the mirror to work with. In this noirscape of bright primary colors Paula Nelson (Karina) is all alone with a sea of bit players, trying to find the one guy she liked from earlier films, a raving commie intellectual believed dead, named Richard P. Though hard to find, we get to hear him ranting away in the form of shrill tape recordings (of Godard reading Maoist obtuse ideology with the terseness of Milenay and pomp of Renfraux).

Paula is a possible spy for either side of the left/right divide but her true motives for wanting to find Richard P. remain unclear; we assume he's an on-again/off-again boyfriend and/or symbol for Godard's own lost idealism, a Maoist Rosebud. As she hunts this invisible, presumed murdered communist through Raoul Coutard's impressionistic landscape (at one point Karina name checks Monet while standing in the foreground of a backyard full of beautiful trees out of focus behind her -- was Impressionism a symptom of weak eyesight?) we get the notion that this is just one of those films that masters make when they're off their a-game, like Dial M for Murder or Testament of Orpheus.

I don't mean to disrespect it, because many a master's b-game is still fascinating and worship-worthy, maybe even more so than their A game (I like Made in USA much more than the dreary industrial landscape of 2 or 3 Things, which most critics consider superior) so long as they include deconstruction of B gameishness into the film itself, as in riding right along with audience expectations and observations, tweaking or thwarting them at every turn (without turning them off) and yet delivering what is promised in such a way that our own desire for it is called into question.

What Godard is chronicling here, then, perhaps, maybe, probably not, is the evolution of B-movie convention from The Big Sleep to Easy Rider. The exact second you realize that the hot blond waif sitting in the background at the bar looks a bit like a really young Marianne Faithful (above), she suddenly starts singing "As Tears Go By" - not lip syncing, but singing right there, a capella, trilling her voice gently and feeling every word of the song, expressing some longing we have no idea about but the mood of wistful sadness overwhelms the film in a summer of love tsunami, before it's even begun, only to resume its dry sand babbling even before she finishes the song. Compared to this bit of subdued emotionalism from a rising starlet of British rock royalty, the ensuing G. Marxist wordplay between Leaud and the bartender suddenly seems tired, yesterday's model. There's a new sincerity in town and it's cool to have feelings, or at any rate it's cool if you're Marianne Faithfull. Karina, instead, is trying on the outfit of a bitchy too-cool-for-modernism contemporary diva (the host instead of the contestant on Europe's Next Top Model) for size. She's not about to pick up a flower and take off her shoes just because the other kids are doing it. So instead she just freezes from the knees down and looks at the floral arrangements like a penniless, starving lotus eater.

No wonder in the next scene Karina visits a health spa beauty parlor, where-- fittingly--any possibility for tranquility amidst the clients is destroyed by shrill announcements over a crackly PA system. When she tells the resident doctor Ludwig during her interrogation to stop "dicking around," you feel her weary rage, that she's indirectly talking to Godard, wishing he'd just write a script and stick to it so she could go home on time and put her feet up. She must have been full sick of his 'dicking around' by then, of waiting around on a hot set for his little direction notes, film after film. It shows. Only when she gets to be mean does she light up with the synthesis of truth and illusion.

The counterculture was beginning to catch fire in 1966, and Faithfull still looks like she was recently conjured out of a magic cloud of smoke, or pulled out of a junior high school gym class before she bruised her complexion in dodgeball, but Godard and Karina were already burning out on decadence and freedom. Even if that's not true, it shows. This isn't complaint, just observation, since Godard naturally ties in this weariness to the film itself, the way for example, Tippi Hedren's bitchiness about working with an obsessive like Hitchcock two films in a row may have led to the audience-alienating (but great!) outbursts of castrating rage in MARNIE.

What saves MADE from being just a misfire, in the end, is the way Godard accommodates his ingenue's hostility by linking it to the shocking effect of watching people get casually and suddenly shot--or seduced--without all the usual booming orchestral music of Hollywood that gives each romance or death such magnified resonance. MADE teaches us that in real life people don't have to brandish their gun and make speeches before firing- it can be so random and sudden that you never know what hit you. During a philosophical discussion with a suspect, for example, she asks, "Would you prefer a long slow old age death or a short exciting death in the moment?" and when he answers the latter, she shoots him on the spot. No fanfare, no warning. Crack!

In addition to the violence, there's some welcome cultural intolerance: When Paula meets a guy who does an impersonation of a typical American--a lobotomized hick Jerry Lewis--Karina ups the ante by making slanty eyes to indicate it's "all Chinese to her." In addition the usual disruptions appear: random silences, the roar of passing planes or honking cars, and many stabs of Ludwig Van's 5th keep interrupting the dialogue, making full grasp of the plot impossible, though oblique interview sequences help, as do peculiar conversations overhead in front of comic book splashes, movie stills and mentions of streets with names like Preminger and Ben Hecht, and of course a pinball machine, though every bell and ping seems to hurt Karina's hangover.

More than most of the films that would follow in Godard's cannon, MADE actually struggles to maintain just enough plot to flirt with your attention span, luring you close enough to the amniotic wall between alienation and narrative immersion that you feel like your whole movie-going life is flashing before your eyes, as in the slim gap between watching a film and reading its back cover synopsis at the video store. Godard's idea of a mystery film is to have a character read Dashiell Hammett aloud in front of a gas station, but for MADE, though the characters may read a bit, they at least still shoot each other.

The shooting is key, since it fits the anti-American ruthless amorality on display (i.e. our production code wherein femme fatales must never go unpunished). Paula is a lethal combination of unpunished femme fatale and Chandleresque gumshoe. Her blase attitude towards being arrested and/or murdering people in cold blood is charming and alienating at the same time. Dario Argento could have spun her into three separate characters, but Godard is too political to divide a fractured psyche for the purpose of mere suspense; even the climactic showdowns are filtered through rhetoric and suffused with ennui, as when Paula--almost apologetic for the film's inertness--remarks:

We live in a part of the universe that's already old, nothing much happens, while elsewhere new galaxies are exploding into action.

A fatal mistake of many lesser filmmakers is the idea that mid-career crises make good cinema. You just tie a film up with past tricks and successful ideas like a greatest hits collection, it wont work on either front, unless you keep the energy high (as in Scorsese's Casino, which moves too fast and vicious to let you realize it's not that great). Godard is too frenetic and hip to let the acres of sadness between Karina and himself sink the movie's energy level, so he focuses his rage on Madison Avenue, which has dared to co-opt Brechtian "full disclosure" (recuperation!) and metatextual self-mockery. Godard wants Brechtian cut-up techniques to be sole domain of the French Communist Party, but Madison Avenue wants to use Godard's methods so they can appear to enjoy their own intellectual self-loathing. For example, if Godard says "Down with Kelloggs!" then Kelloggs' says "Godard says 'down with delicious Kelloggs!'" to which Godard can only get redder in face and party, trying to end the game by saying "Down with advertising that co-opts the tactics of Debord and detournement, to infinity squared!


To a Brechtian post-modernist who loves quotations as much as Godard does, this is the ultimate defeat: you can't critique a power system that incorporates its own critique--Todd McGowan wrote about this in his Lacan and the Emerging Society of Enjoyment:

The insight into the functioning of power... has the effect of cementing power's hold over us rather than relaxing it. It does this by cutting off all lines of critique prior to their articulation. (54)

In the end, none of it matters, because we have Anna Karina. Young and gorgeous, she's preserved for all time in vibrant, colorful dresses against the same color scheme of Pierrot Le Fou, which is probably the movie to see first if you're new to the game. After Made in the USA and 2 or 3 Things I Know About Her (shot at the same time, with Godard originally wanting to show them in alternating reels), Godard would begin his descent into nihilistic ranting (Weekend) and post-modern Commie pedagogy (La Chinoise, Tout Va Bien). Still witty, but sullen and sanctimonious as well, enraged that his rage hasn't made a discernible difference. His became for awhile a fate that I've watched subsume many a Cultural Studies professor who gets mad at contemporary culture the way an impatient gardener might get mad at a reticent flower.

Luckily, old Godard got his Baudrillard-esque groove back as a mid-life crisis 80s reward, finding a vein of poetry deep under absurdity's skin and he's been popping it ever since. And even now, 40 years later, Anna Karina and Marianne Faithfull are paragons of cool, still appearing regularly on TV and in movies, acting and singing with their beautifully smoke-ravaged voices. In an era when our own president is harassed by the media for occasionally having a cigarette, these two ladies are reminders that you can all just take a fucking walk / and I guess that I just don't know / and I guess that you've come a long way... baby.

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