in an attempt to ameliorate my finite, yet vast cinematic ignorance, i've taken up the habit of convincing, cajoling, and occasionally bamboozling my yin into watching films every night the past two weeks. but this is beside the point.
the point is that, owing to a serendipity of online streaming technology and librarial availability, we were able to stage a grudge match between Howard Hawks' noir classic The Big Sleep and Jean Luc Godard's approximate nouvelle vague re-rendering Made in U.S.A.
part II
example, in the style of Howard Hawks
the former is dominated by Bogart, of course, and its narrative is permeated not just by the tension, but also by the legend and lure of his relationship with co-star Lauren Bacall. Godard's film, on the other hand, revisions Philip Marlowe as Paula Nelson, a private detective investigating a murdered lover, divorcing the director, and interrogating semiotics. the films are separated by twenty years, one ocean, and the advent of Technicolor.
both are devastatingly intoxicating.
example, dans la style (mais pas le français)
de Jean Luc Godard
de Jean Luc Godard
le premier:
est imprégné par:
Godard révisions:
comme:
avec:
enqûete sur:
en instance de divorce:
interrogeant:
vingt ans, un océan, et l'avènement
de Technicolor séparent les films.
les deux sont dévastateurs enivrante.
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