With the early phase of his career winding down, Jean-Luc Godard decided to inspect sexual politics once more, this time allowing it to take center-stage. Much like the other celebrated films from his work in the 60s, masculin féminin exudes an odd disparity, simultaneously embracing politics and pop-art all at once. While again attempting to merge his American influences with his socialist principles, and somehow enhance and advance both as a result, Godard creates a film that is intricate, but available, that scrutinizes his subjects, but also provides them compassion, and where the relationships between his images require our constant scrutiny.
As breezy as the film appears at times, with men stressed over the politics of war and breast size and women worried about shopping and pop music, it’s the mixture of the continuing conflicts between man and woman and the ongoing tensions over Vietnam that continues to fascinate. As always, Godard’s style and creative choices feel abrasive and urgent, whether it’s the uncomfortable intimacy of conversations that feel like interrogations, or the gunshots that accompany our vignettes. We are also treated to Chantal Goya’s undeniably catchy pop-songs (imitating US pop, ready to be exported to Japan) that serve to distract us in effervescent femininity until Godard delivers a rather rude awakening during the film’s finale. Paul fittingly determines that “masculin” is part “mask” and part “ass”, but his theory that “feminin” doesn’t amount to anything is countered in Godard’s conclusion, where we recognize the exact authority women wield. But who’s still around in the end? A gunshot may reduce “feminin” to “fin”, but just remember who has the power to start life. It seems Godard understands “feminin” is concurrently the beginning and the end.
by Chiranjit Goswami | Source: Criterion Collection DVD
13 Nov 2005 1:58 PM | Submit Comment
