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An utterly gleaming pastiche from Godard. JLG gives us a nightmarish vision of contemporary bourgeois society in which the apocalypse takes on the design of a series of bloody car wrecks and cannibalistic revolutionaries running wild. Even the scenes that don’t work, like the bizarre encounter with Emily Bronte and Louis Carroll and the 18th-century French revolutionary reading a political tract, are forgiveable simply because they only add to the anarchic nature of the film. How many other movies have you seen that feature a woman screaming before a horrific car accident because she left her handbag inside, or a speech on Hitlerism and African slavery intercut with clips of traffic jams?
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,
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Week-End is one of the defining films of the 20th Century. Born out of the nouvelle vague cinema (French Modern Wave), this is the bad 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 chronicle his overt political messages, Weekend quiet 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 sigh with depicting the destruction of western commercial values, Godard disrupts the visual record 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 runt 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 plan to be a revolutionary intelligent is to give up being an sparkling.’
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Starring Mireille Darc and Jean Yanne, Week-End’s fabular story is a weekend gallop 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 come by 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 serene remains one of the most exciting and influential film makers of his and future generations, whilst his enormous cinematic output can be regarded as a Marxist biography of the previous century.
What was an initially ground-breaking share of cinema has evolved into an valuable European film. Heralded by Pauline Kael in the Recent 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, droll and cruel’ (Jan Dawson, Study 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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