Jean-Luc Godard, the father of modern cinema whose impish, combative provocations threw down a gauntlet with which all those who came in his wake must contend, died Tuesday at the age of 91.
and the romantic comedy while stripping away the comforting conventions. The story of young, directionless lovers ,incorporated jump cuts and indifferent plotting to produce the first postmodern film — a movie about the falseness of movies that sought to present the ordinariness, unpredictability and spark of real life that normally never make their way to the big screen.
As the Sixties waned, the filmmaker began to lose his grip on the zeitgeist as he moved further and further away from accessibility in search of what he once described as “a new alphabet in the language of cinema.” But in 1980, he put away video projects and experimental digressions to return triumphantly to relatively traditional storytelling withEvery Man for Himself
earned Godard some of his best reviews in over a decade, but he remained a provocateur, brazenly incorporating slow-motion sequences to accentuate his protagonists’ emotional states and candidly portraying the main male character, a director, as a violent misogynist. a comeback. “For me, it’s not a return but an approach,” he told, later adding, “Maybe in two or 10 years, I will reach the point of making a real feature — which I have never done.
A growing pessimism informed Godard’s work in the 21st century, although it found him still engaged in cinema’s cutting-edge technology.Goodbye to Language dazzlingly incorporated 3D. But in a 2005 interview he seemed dismissive of the medium’s abilities to reshape the world. “It’s over,” heGodard’s dim outlook belies the waves of filmmakers influenced by his fearlessness, everyone from Bernardo Bertolucci to Brian De Palma to Jonathan Demme to Quentin Tarantino. Iconoclastic Hollywood films such as
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