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Bob le flambeur [Bob the Gambler] (Jean-Pierre Melville, 1956)
Jun
13
Friday
Bob (Roger Duchesne) at the tables, gambling. DP: Henri Decaë.
“I'd even lose at hopscotch these days.”
– Bob Montagné
Bob gambles, and always wins. But then he starts losing. And not just games.
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La Chinoise, ou plutôt à la Chinoise: un film en train de se faire [La chinoise] (Jean-Luc Godard, 1967)
Mar
19
Howard University Protest
Yvonne (Juliet Berto) holed up behind piles of Mao's Little Red Book, wielding a machine gun. DP: Raoul Coutard.
“One must confront vague ideas with clear images”
– slogan on a wall
Five Maoist students theorise, then practice a radical overthrow via terrorism.
Loosely based on Dostoyevsky's Бѣсы [The Possessed] (1871–72).
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Touche pas à la femme blanche [Don't Touch the White Woman!] (Marco Ferreri, 1974)
Nov
23
potato chips
“Whoever dies for the country hasn't lived in vain. I, on the contrary, will live for the country because I'm not that stupid.”
– George A. Custer
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Mélodie en sous-sol [Any Number Can Win] (Henri Verneuil, 1963)
Nov
22
banquet
Backstage at the Cannes casino, stars and stagehands enjoy their well-deserved end-of-season banquet. Just walking in front of the showgirls is piano player Sam (Jimmy Davis). DP: Louis Page.
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Compartiment tueurs [The Sleeping Car Murder] (Costa-Gavras, 1965)
Nov
8
Eliane Darrès (Simone Signoret) – comédienne, by herself – takes a long hard look at her table-set-for-two. DP: Jean Tournier.
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Simone Barbès ou la vertu (Marie-Claude Treilhou, 1980)
Jun
19
pâté
Two female porn theatre ushers (Ingrid Bourgoin and Martine Simonet) looking bored. They sit under two large eye-shaped neon lights. Between them a small table with various half-consumed items, including part of a baguette with pâté. DP: Jean-Yves Escoffier.
– Ah, regarde, c'est Tati !
– Tati qui?
– Tati, comme Mon Oncle.
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Pickpocket (Robert Bresson, 1959)
Mar
12
Michel (Martin LaSalle) in a busy café, observing. An emptied water glass next to the thief should make him look like a paying guest. DP: Léonce-Henri Burel.
“Can we not admit that certain skilled men, gifted with intelligence, talent or even genius, and thus indispensable to society, rather than stagnate, should be free to disobey laws in certain cases?”
– Michel
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Ascenseur pour l'échafaud [Elevator to the Gallows] (Louis Malle, 1958)
Dec
13
croissants
Mr Tavernier (Maurice Ronet) taking a bite out of a croissant while dialling a number in a lively French café. A blonde behind him shows an interest. DP: Henri Decaë.
“Have you seen Mr Tavernier tonight?”
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Alphaville: Une étrange aventure de Lemmy Caution (Jean-Luc Godard, 1965)
Jul
16
petit déjeuner
In one of the very few daytime scenes, Natacha (Anna Karina) and Lemmy Caution (Eddie Constantine) share breakfast at a small table while awkwardly sitting on the armrests of two upholstered chairs. A large television is set up directly behind the table. DP: Raoul Coutard.
“Yes, I'm afraid of death… but for a humble secret agent that's a fact of life, like whisky. And I've drunk that all my life.”
– Lemmy Caution
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Alphaville: Une étrange aventure de Lemmy Caution (Jean-Luc Godard, 1965)
Jul
16
AI Appreciation Day
Natacha von Braun (Anna Karina) and Lemmy Caution (Eddie Constantine). Lights reflected in the windowpane that shields the two characters suggest “the existence of an obscure reality” (after Baudrillard). DP: Raoul Coutard..
Science fiction, of course, doesn't have to be driven by grandes effects, by superstar names and monumental backdrops. It can be cool, dry, colourless even. The hero, in trenchcoat and fedora, traverses a lightless city. There are few others at this time of night. The familiar landmarks of the City of Light become the voice of 𝛼-60, an artificial intelligence that presides over Alphaville.
𝛼-60: “Do you know what illuminates the night?”
Lemmy Caution: “Poetry.”
Based on a poem by Paul Éluard, #Godard's Alphaville bears similarities with Jean #Cocteau's Orphée (1950), transported to a mirror world of sorts. It also foreshadows not only our time, but also M. Hulot's, whose #Tativille could be the simulacra of 𝛼-60's simulated, dehumanised world.