From: Eva
Category: Films
Date: 01 June 2005
From the credit sequence Godard is breaking down the filmic illusion. A camera moves towards us, dollying down tracks to follow a character outside the decaying Cinecittá, Italy’s ‘Hollywood’. As the camera nears ‘us’, or the camera that is filming our view, it turns to face us directly. For a beat we are staring into the black frame of the lens. The film then begins proper with an intimate (suggested post-coital) conversation between Camille (Brigitte Bardot) and Paul (Michel Piccoli). Sultry and coquettish, Camille seeks compliments from Paul, to extract an affirmation of his total love for her. This scene makes us aware of all that they are later to loose. Towards the end of the scene Godard removes the purple filter from the lens and it’s shocking to see the ‘real’ colours and to realize that it’s not dawn after all. He then replaces it with a blue filter that makes the scene appear nocturnal. Throughout the film Godard is playing with technique, but in a measured way. The pivotal point in the film, from which Camille’s contempt for Paul grows, is understated. The colour red is a repeated motif, as is the signature music which gives the film a melancholy tone. Both characters reveal they are unable to communicate with each other. We can see that this is what they need to do to dispel the resentment that eventually grows into full blown contempt, devouring their relationship. There are references to Minnelli’s ‘Two Weeks in Another Town’ and especially to Rossellini’s ‘Journey to Italy’ which chronicles the growing tensions within another couple’s relationship, both these films are set in the same locale.
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