"Paul, Denise, and Isabelle meet and, in various combinations, talk, argue, observe, and make love, then separate. There are no thunderous emotional confrontations, but, by the end of the film, one's perceptions have been so enriched, so sharpened, that one comes out of it invigorated. Every Man for Himself leaves you with a renewed awareness of how a fine movie can clear away the detritus that collects in a mind subjected to endless invasions by clichés and platitudes and movies that fearlessly champion the safe or obvious position. It's a tonic."
Vincent Canby NYT, 10.8.1980
Godard's oeuvre has been built on radical experimentation with the fundamental elements of cinema, and Every man for Himself is singular up to this period in its unified resonance of theory and process.
Godard effectively activates an analysis of cinema and syntax.
i.e.
The film still, like letters to words in a sentence...
Montage: one consecutive image onto another=movement.
i.e.
The film still, like letters to words in a sentence...
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Context through word {spoken or text} and image...Kuleshov:
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With succinct and sometimes rather comedic staging, Godard elaborates on recurrent themes of his work:
labor, hierarchy, servitude and the analogous relationship between creation and prostitution.
labor, hierarchy, servitude and the analogous relationship between creation and prostitution.
"Dialectics on the soundtrack can be tuned out.
When they are in the images
they pass directly into one's memory bank."
Vincent Canby NYT, 10.8.1980
Leif Huron
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